Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Antigua and from Beijing.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1977.
I'm losing my edge.
To all the kids in Bremen and Lille.
I'm losing my edge to the art-school Lille kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the oboe sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Sticky Fingaz feat. Raekwon to the rock kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by James Chance & The Contortions. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every David McCallum record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Juan Atkins,
Ultramagnetic MC's,
Kas Product,
Rosa Yemen,
the Normal,
Röyhkä ja Rättö ja Lehtisalo,
Scion,
Dead Boys,
The New Christs,
Sad Lovers and Giants,
Lightning Bolt,
T. Rex,
The Music Machine,
The Busters,
Pagans,
a-ha,
The Mighty Diamonds,
Orchestral Manoeuvres in the Dark,
John Foxx,
Camberwell Now,
Fluxion,
Rufus Thomas,
Boredoms,
Sam Rivers,
the Sonics,
Los Fastidios,
Shoche,
Public Image Ltd.,
Nas,
Bluetip,
Faust,
The Selecter,
Bootsy's Rubber Band,
Dave Gahan,
The Birthday Party,
the Soft Cell,
Bauhaus,
Grandmaster Flash and the Furious Five,
Marc Romboy vs. Booka Shade,
Sällskapet,
Tropical Tobacco,
Camouflage,
Soulsonic Force,
Sly & The Family Stone,
Nils Olav,
The Litter,
Severed Heads,
JFA,
Buzzcocks,
The Walker Brothers,
Oneida,
Erykah Badu,
LL Cool J,
Scratch Acid,
Cal Tjader,
the Association,
Gang Starr,
Smog,
Cabaret Voltaire,
Pulsallama,
Fear, Fear, Fear, Fear.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.