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 Swaziland and from Cairo.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Columbus 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 guitar 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 These Immortal Souls to the jazz 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 Theoretical Girls. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal funk 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 linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Model 500,
Sun Ra,
Jerry's Kids,
Super Lover Cee & Casanova Rud,
Con Funk Shun,
Roxy Music,
Negative Approach,
the Bar-Kays,
Marmalade,
Saccharine Trust,
Lyres,
Lou Reed,
Dorothy Ashby,
Livin' Joy,
Swans,
Major Organ And The Adding Machine,
Sun Ra Arkestra,
Bobbi Humphrey,
Tom Boy,
Joyce Sims,
Kool G Rap & DJ Polo,
Scion,
Fela Kuti,
Juan Atkins,
The Litter,
Mr. Review,
Yaz,
The Monks,
New Order,
Tres Demented,
Alison Limerick,
Amon Düül II,
Theoretical Girls,
Jesper Dahlback,
Lucky Dragons,
JFA,
Larry & the Blue Notes,
DeepChord presents Echospace,
Hasil Adkins,
DJ Style,
Dead Boys,
David Axelrod,
Throbbing Gristle,
Black Bananas,
Crispian St. Peters,
Spoonie Gee,
Sonic Youth,
Gang Starr,
Terrestrial Tones,
R.M.O.,
Peter & Gordon,
Eric Copeland,
Maurizio,
The Black Dice,
Bizarre Inc.,
Yellowson,
The Selecter,
Eve St. Jones,
Freddie Wadling,
The Fall,
Prince Buster, Prince Buster, Prince Buster, Prince Buster.
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.