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 Korea South and from Edmonton.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Lille and Woodstock.
I'm losing my edge to the art-school Philadelphia 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 The Star Department to the techno 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 Minor Threat. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal disco 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 theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department 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?
Rahsaan Roland Kirk,
Brick,
Stockholm Monsters,
Art Ensemble Of Chicago,
Country Teasers,
The Names,
The Toasters,
Drexciya,
Be Bop Deluxe,
John Foxx,
David McCallum,
Harry Pussy,
The Zeros,
Trumans Water,
Throbbing Gristle,
Mantronix,
Richard Hell and the Voidoids,
X-102,
Delta 5,
Fear,
Bobbi Humphrey,
the Human League,
The Stooges,
Robert Görl,
The Count Five,
Wings,
The Electric Prunes,
The Detroit Cobras,
Crash Course in Science,
Arthur Verocai,
Fugazi,
The Mighty Diamonds,
Camron Feat. Memphis Bleek And Beenie Seigel,
Derrick Morgan,
David Axelrod,
Nick Cave & The Bad Seeds,
Silicon Teens,
The Index,
Eyeless In Gaza,
The Black Dice,
Erykah Badu,
Vaughan Mason & Crew,
Heavy D & The Boyz,
Minutemen,
The Fuzztones,
Nick Fraelich,
Bluetip,
Sister Nancy,
Thompson Twins,
Negative Approach,
Joensuu 1685,
K-Klass,
Byron Stingily,
Jeru the Damaja,
Warsaw,
Laurel Aitken,
Outsiders,
Rhythm & Sound,
Altered Images,
Nation of Ulysses,
Donald Byrd,
Cymande,
ABC,
Kango’s Stein Massive,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.