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 Tunisia and from Tehran.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Bremen and Manila.
I'm losing my edge to the art-school Mumbai 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 808 sounds with much patience.
I was there when Holger Czukay 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 JFA to the punk kids.
I played it at the Hacienda.
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 The Zeros. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Spandau Ballet 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Aural Exciters,
The Slackers,
Japan,
The Mummies,
Sticky Fingaz feat. Raekwon,
Eyeless In Gaza,
The Motions,
Parry Music,
Quantec,
Lucky Dragons,
Notorious Big And Bone Thugs,
Nick Cave & The Bad Seeds,
Larry & the Blue Notes,
Electric Light Orchestra,
Grey Daturas,
Arthur Verocai,
Sun Ra Arkestra,
Pulsallama,
Wolf Eyes,
Albert Ayler,
Siouxsie and the Banshees,
Laurel Aitken,
The Moleskins,
Motorama,
Skaos,
The Doors,
Gastr Del Sol,
Silicon Teens,
Soft Machine,
Public Image Ltd.,
The Grass Roots,
Masters at Work,
Erykah Badu,
Rhythim Is Rhythim,
Flamin' Groovies,
Sound Behaviour,
Kerrie Biddell,
Amazonics,
Ornette Coleman,
Wire,
Drive Like Jehu,
The Cowsills,
The Martian,
Bill Near,
The West Coast Pop Art Experimental Band,
Oblivians,
Pierre Henry,
Funkadelic,
Yaz,
Moebius,
The Vogues,
Newcleus,
U.S. Maple,
Deepchord,
Smog,
Sunsets and Hearts,
Louis and Bebe Barron,
Tears for Fears,
Anakelly,
Amon Düül,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.