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 Beijing.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1978.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Portland 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Marc Almond to the rock 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 Grauzone. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Country Teasers,
Pussy Galore,
Tom Boy,
Dennis Brown,
Sex Pistols,
Moebius,
Deutsch Amerikanische Freundschaft,
Soft Machine,
48th St. Collective,
Vaughan Mason & Crew,
Brothers Johnson,
Moby Grape,
Warsaw,
T.S.O.L.,
Godley & Creme,
Hashim,
Suicide,
Dr. Dre and Snoop Doggy Dog,
The Music Machine,
Yaz,
Boredoms,
Lee Hazlewood,
Swell Maps,
Michelle Simonal,
Average White Band,
Beasts of Bourbon,
Scion,
Icehouse,
The Pretty Things,
Archie Shepp,
Faust,
Kaleidoscope,
Faraquet,
Gabor Szabo,
Henry Cow,
The Count Five,
The Fugs,
The Trojans,
Alphaville,
Sight & Sound,
Robert Hood,
Royal Trux,
The Men They Couldn't Hang,
Kool G Rap & DJ Polo,
Sticky Fingaz feat. Raekwon,
B.T. Express,
Aural Exciters,
Danielle Patucci,
Magma,
The Cowsills,
Sister Nancy,
The Sound,
Nico,
Erasure,
Agitation Free,
ABC,
Liliput,
New Order,
Eyeless In Gaza,
Chris & Cosey,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.