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 Tanzania and from Hong Kong.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Manila and Calgary.
I'm losing my edge to the art-school Calgary 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when Lou Reed 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 kango's stein massive to the dance kids.
I played it at the Spitz.
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 Lonnie Liston Smith. All the underground hits.
All Ludus tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
Cheater Slicks,
Crooked Eye,
Warren Ellis,
Joe Smooth,
Lizzy Mercier Descloux,
Whodini,
The Remains,
the Bar-Kays,
DNA,
Blake Baxter,
Negative Approach,
Agent Orange,
Kenny Larkin,
Donald Byrd,
The Pretty Things,
Joyce Sims,
Ornette Coleman,
Essential Logic,
Tears for Fears,
Marcia Griffiths,
Laurel Aitken,
Rod Modell,
Warsaw,
Eddi Front,
Barrington Levy,
Justin Hinds & The Dominoes,
Magazine,
The Pop Group,
Soul II Soul,
Jandek,
Suburban Knight,
Black Bananas,
Tubeway Army,
The Monochrome Set,
Peter & Gordon,
Country Joe & The Fish,
The Smoke,
Ronan,
Lee Hazlewood,
E-Dancer,
Niagra,
Sound Behaviour,
Traffic Nightmare,
The Cosmic Jokers,
Reagan Youth,
Terrestrial Tones,
MDC,
Black Moon,
Sandy B,
Morten Harket,
The Happenings,
Liaisons Dangereuses,
DJ Style,
Minor Threat,
Bronski Beat,
Gary Puckett & The Union Gap,
The Blues Magoos,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bizarre Inc.,
Organ,
Inner City,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.