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 Saudi Arabia and from Paris.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
I'm losing my edge to the art-school Winnipeg 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 The Doobie Brothers to the jazz kids.
I played it at the Roxy.
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 8 Eyed Spy. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a New Age Steppers record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Roxette,
Blake Baxter,
The Seeds,
Louis and Bebe Barron,
China Crisis,
Yusef Lateef,
DNA,
The Knickerbockers,
Rosa Yemen,
Urselle,
La Düsseldorf,
Interpol,
The Durutti Column,
Archie Shepp,
Amon Düül II,
10cc,
Crime,
The Shadows of Knight,
Joensuu 1685,
John Coltrane,
Crooked Eye,
Popol Vuh,
The Standells,
Juan Atkins,
Organ,
Zapp,
Masters at Work,
Gastr Del Sol,
Faust,
Sam Rivers,
The Fall,
Youth Brigade,
Stiv Bators,
the Soft Cell,
Ultramagnetic MC's,
The Moleskins,
Anakelly,
Scientists,
Kevin Saunderson,
Schoolly D,
Art Ensemble Of Chicago,
Be Bop Deluxe,
Faraquet,
Bluetip,
Girls At Our Best!,
The Cure,
Terry Callier,
Letta Mbulu,
Vladislav Delay,
Gerry Rafferty,
Sad Lovers and Giants,
The Selecter,
The Gories,
Scrapy,
Jimmy McGriff,
The Velvet Underground,
The Names,
Harmonia,
The Pop Group,
Cluster, Cluster, Cluster, Cluster.
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.