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 Vanuatu and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
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 mellotron sounds with much patience.
I was there when David Bowie 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 Rod Modell to the funk 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 Peanut Butter Conspiracy. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Camberwell Now 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
the Bar-Kays,
The New Christs,
Vaughan Mason & Crew,
Panda Bear,
Nas,
Organ,
The Pretty Things,
Interpol,
Curtis Mayfield,
The Angels of Light,
the Soft Cell,
Cybotron,
U.S. Maple,
New Order,
Mars,
New Age Steppers,
Cecil Taylor,
Donald Byrd,
The Gun Club,
The Neon Judgement,
Tropical Tobacco,
Thinking Fellers Union Local 282,
Pantytec,
Electric Prunes,
Gerry Rafferty,
Lebanon Hanover,
Bobbi Humphrey,
Gichy Dan,
Susan Cadogan,
The United States of America,
The Mummies,
The Invisible,
Swans,
The Remains,
Lonnie Liston Smith,
Flipper,
The Young Rascals,
The Moleskins,
Magazine,
Mission of Burma,
Urselle,
Minor Threat,
Archie Shepp,
Soft Cell,
Todd Rundgren,
Colin Newman,
Brass Construction,
Sam Rivers,
Pet Shop Boys,
The American Breed,
Banda Bassotti,
Procol Harum,
Sun City Girls,
One Last Wish,
Todd Terry,
Neu!,
Sandy B,
Ossler,
The Victims,
Orchestral Manoeuvres in the Dark,
Big Daddy Kane,
K-Klass,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.