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 Poland and from Tehran.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Toronto and Hong Kong.
I'm losing my edge to the art-school Lyon 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Man Parrish to the rap kids.
I played it at the 40 Watt.
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 Buzzcocks. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Mark Hollis,
Kas Product,
Half Japanese,
Talk Talk,
Throbbing Gristle,
Buzzcocks,
Niagra,
June Days,
Dorothy Ashby,
Au Pairs,
Rites of Spring,
Soul II Soul,
Duran Duran,
Interpol,
Fad Gadget,
Peter Gordon & Love of Life Orchestra,
R.M.O.,
The Beau Brummels,
Selector Dub Narcotic,
The Selecter,
Ultravox,
London Community Gospel Choir,
Davy DMX,
Whodini,
The Pretty Things,
Susan Cadogan,
Alton Ellis,
Brand Nubian,
Deadbeat,
The Motions,
Roxette,
Country Joe & The Fish,
Quadrant,
Visionaries,LMNO, T- Love & Iriscience,
Röyhkä ja Rättö ja Lehtisalo,
Dead Boys,
The New Christs,
The Techniques,
Supertramp,
Hashim,
Flamin' Groovies,
Organ,
Cameo,
Monks,
Amon Düül,
Wolf Eyes,
10cc,
Television,
Camberwell Now,
Jeru the Damaja,
Camron Feat. Jay Z And Juelz,
The Golliwogs,
PIL,
Louis and Bebe Barron,
Malaria!,
Ash Ra Tempel,
Hardrive,
Heavy D & The Boyz,
Orchestral Manoeuvres in the Dark,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.