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 Belgium and from Bremen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1972.
I'm losing my edge.
To all the kids in Stockholm and Houston.
I'm losing my edge to the art-school Mexico City 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Public Enemy to the punk kids.
I played it at the Crocodile.
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 Josef K. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
The Jesus and Mary Chain,
Gang Gang Dance,
Sight & Sound,
The Shadows of Knight,
Liaisons Dangereuses,
Patti Smith,
The Star Department,
Sam Rivers,
The Zeros,
Marmalade,
The Happenings,
Delon & Dalcan,
The Gories,
Moby Grape,
Average White Band,
Basic Channel,
The Standells,
Deakin,
Gil Scott-Heron & Brian Jackson,
the Swans,
The Beau Brummels,
Mo-Dettes,
The Dead C,
10cc,
Monolake,
Howard Jones,
Gian Franco Pienzio,
Young Marble Giants,
Pantytec,
Popol Vuh,
Lee Hazlewood,
Anthony Braxton,
Drexciya,
John Holt,
Erasure,
Toni Rubio,
Lizzy Mercier Descloux,
Icehouse,
The Walker Brothers,
Scan 7,
Yusef Lateef,
Ash Ra Tempel,
The West Coast Pop Art Experimental Band,
Joey Negro,
Pharaoh Sanders and the Fire Engines,
Lakeside,
Bang on a Can All-Stars,
John Coltrane,
Echospace,
Dorothy Ashby,
Soft Machine,
Mantronix,
Bush Tetras,
Yaz,
Livin' Joy,
N.O.R.E. Featuring Pharrell,
MDC,
Alice Coltrane,
Electric Light Orchestra,
Bill Near,
The Techniques, The Techniques, The Techniques, The Techniques.
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.