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 Gambia and from Bologna.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Tehran and Shanghai.
I'm losing my edge to the art-school Beijing 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Leonard Cohen to the dance kids.
I played it at Trash.
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 Bill Near. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Cecil Taylor,
The New Christs,
Howard Jones,
Bauhaus,
Minutemen,
The Standells,
Robert Görl,
The Trojans,
The Sound,
Roger Hodgson,
Janne Schatter,
Scott Walker,
Sun Ra Arkestra,
Bootsy Collins,
Slave,
Cheater Slicks,
Skaos,
Lee Hazlewood,
Prince Buster,
Agitation Free,
Teenage Jesus and the Jerks,
Liliput,
Jeff Mills,
Mars,
JFA,
the Swans,
The Litter,
The Golliwogs,
Blake Baxter,
Franke,
Spoonie Gee,
Fad Gadget,
Tomorrow,
Basic Channel,
Strawberry Alarm Clock,
Alice Coltrane,
A Flock of Seagulls,
Marcia Griffiths,
The Seeds,
Roy Ayers,
Marc Almond,
Lizzy Mercier Descloux,
Ponytail,
Toni Rubio,
Hashim,
Richard Hell and the Voidoids,
Young Marble Giants,
Leonard Cohen,
Spandau Ballet,
Khruangbin,
The Dave Clark Five,
The Gladiators,
Tom Boy,
The Doors,
David Bowie,
Chrome,
Excepter,
Justin Hinds & The Dominoes,
The Doobie Brothers,
The Real Kids,
Bootsy's Rubber Band,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.