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 Mauritania and from Tokyo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
I'm losing my edge to the art-school Manchester 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 808 sounds with much patience.
I was there when Donald Fagen 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 Wolf Eyes to the rap 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 The Smiths. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
The Cramps,
Notorious Big And Bone Thugs,
Camron Feat. Memphis Bleek And Beenie Seigel,
Oblivians,
Ossler,
Spandau Ballet,
Sonny Sharrock,
Con Funk Shun,
MC5,
Jesper Dahlback,
Gregory Isaacs,
Television,
Scott Walker,
The Gladiators,
Youth Brigade,
Art Ensemble Of Chicago,
One Last Wish,
X-Ray Spex,
David Bowie,
These Immortal Souls,
Robert Wyatt,
The Divine Comedy,
The Names,
the Normal,
PIL,
Harmonia,
Bush Tetras,
The Mojo Men,
The Smiths,
Arab on Radar,
The Black Dice,
Cybotron,
Unrelated Segments,
The Misunderstood,
Fela Kuti,
The United States of America,
Angry Samoans,
Jeff Lynne,
Babytalk,
Throbbing Gristle,
Eric Copeland,
Eden Ahbez,
Kauko Röyhkä ja Narttu,
The Peanut Butter Conspiracy,
DJ Style,
Index,
Faust,
Kango’s Stein Massive,
Toni Rubio,
Franke,
Lou Christie,
Strawberry Alarm Clock,
Kings Of Tomorrow,
The Shadows of Knight,
Traffic Nightmare,
Visionaries,LMNO, T- Love & Iriscience,
John Lydon,
Carl Craig,
The Detroit Cobras,
Vaughan Mason & Crew,
Rowland S Howard / Lydia Lunch,
Deakin,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.