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 Jamaica and from Lille.
But I was there.
I was there in 1973.
I was there at the first Television 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 1966 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Jakarta.
I'm losing my edge to the art-school Mexico City 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 güiro 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 Marshall Jefferson to the crunk kids.
I played it at the Crocodile.
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 Quando Quango. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every The Black Dice record on German import.
I heard that you have a white label of every seminal grime 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 sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Blake Baxter,
Alison Limerick,
Avey Tare,
Swans,
Strawberry Alarm Clock,
The Modern Lovers,
Fluxion,
Bobby Hutcherson,
China Crisis,
The Vogues,
Theoretical Girls,
Television,
Joyce Sims,
Jeff Mills,
Donald Byrd,
Johnny Osbourne,
Scratch Acid,
Ohio Players,
Slick Rick,
Sun City Girls,
Tom Boy,
Thinking Fellers Union Local 282,
Captain Beefheart & His Magic Band,
The Chocolate Watch Band,
Pere Ubu,
Urselle,
Barclay James Harvest,
Vladislav Delay,
Yusef Lateef,
Negative Approach,
Funky Four + One,
Angels of Light & Akron/Family,
Wally Richardson,
The Divine Comedy,
Flipper,
The Durutti Column,
Quantec,
Main Source,
Bizarre Inc.,
Todd Terry,
Neu!,
Marvin Gaye,
The Gladiators,
Notorious Big And Bone Thugs,
The Human League,
Fad Gadget,
Camron Feat. Memphis Bleek And Beenie Seigel,
Camron Feat. Jay Z And Juelz,
Black Bananas,
Lyres,
Simply Red,
Deepchord,
Sunsets and Hearts,
Sonny Sharrock,
Silicon Teens,
Sandy B,
Lou Christie,
Monolake,
New York Dolls,
The Wake,
the Soft Cell,
Pussy Galore,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.