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 El Salvador and from Lyon.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Mumbai.
I'm losing my edge to the art-school Copenhagen 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar 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 Amon Düül to the jazz kids.
I played it at the Troubador.
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 Yusef Lateef. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Juan Atkins 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Minor Threat,
Lower 48,
a-ha,
The Searchers,
Pantytec,
Robert Görl,
Ponytail,
Desert Stars,
Liliput,
Rapeman,
Ohio Players,
Second Layer,
The Dead C,
Cabaret Voltaire,
The J.B.'s,
Eurythmics,
Make Up,
Kerrie Biddell,
These Immortal Souls,
Rhythim Is Rhythim,
Pussy Galore,
The Monks,
Young Marble Giants,
Roy Ayers,
X-102,
Public Enemy,
Echospace,
Lucky Dragons,
cv313,
Vaughan Mason & Crew,
Sight & Sound,
Scott Walker,
Spoonie Gee,
R.M.O.,
Circle Jerks,
Terrestrial Tones,
Jacques Brel,
Captain Beefheart & His Magic Band,
Chris Corsano,
Jacob Miller,
Cal Tjader,
Thompson Twins,
Glambeats Corp.,
Boogie Down Productions,
Pylon,
Andrew Hill,
The Beau Brummels,
Gang Starr,
Cluster,
Essential Logic,
Minny Pops,
Marine Girls,
Agitation Free,
Curtis Mayfield,
Sugar Minott,
Ituana,
Echo & the Bunnymen,
Television,
Depeche Mode,
Franke,
Rufus Thomas,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.