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 Dominican Republic and from Taipei.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Bremen and Mexico City.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the snare 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 Wighnomy Brothers & Robag Wruhme to the funk 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 Slave. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal dance 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Sam Rivers,
Zero Boys,
Colin Newman,
Lonnie Liston Smith,
This Heat,
Lakeside,
Duran Duran,
Monks,
Deutsch Amerikanische Freundschaft,
The Martian,
Mandrill,
Peter & Gordon,
Lightning Bolt,
Wings,
Soul II Soul,
Faraquet,
Scan 7,
The Kinks,
Chris & Cosey,
Index,
Kango’s Stein Massive,
Harry Pussy,
Pharoah Sanders,
Ronnie Foster,
Outsiders,
Howard Jones,
Ponytail,
Alphaville,
Aswad,
Grey Daturas,
Stockholm Monsters,
Barrington Levy,
Arcadia,
Connie Case,
Pierre Henry,
Sun City Girls,
Cameo,
Pere Ubu,
Spandau Ballet,
Black Moon,
Rowland S Howard / Lydia Lunch,
Tubeway Army,
Easy Going,
Röyhkä ja Rättö ja Lehtisalo,
Sandy B,
Suicide,
Flash Fearless,
The West Coast Pop Art Experimental Band,
Bobby Byrd,
Angry Samoans,
Arthur Verocai,
Dorothy Ashby,
Sight & Sound,
One Last Wish,
Quando Quango,
The Walker Brothers,
Livin' Joy,
Swans,
Siglo XX,
Essential Logic,
Depeche Mode,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.