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 Armenia and from Hong Kong.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Bremen.
I'm losing my edge to the art-school Winnipeg 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the organ 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 Sexual Harrassment to the dance 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 The Tremeloes. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Liaisons Dangereuses 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
The Monks,
Ohio Players,
Bauhaus,
The Jesus and Mary Chain,
Matthew Halsall,
Amazonics,
Junior Murvin,
Newcleus,
Black Bananas,
Popol Vuh,
The United States of America,
Flash Fearless,
The Velvet Underground,
Fifty Foot Hose,
The Golliwogs,
Marcia Griffiths,
Josef K,
Max Romeo,
Ronan,
Cluster,
DeepChord presents Echospace,
Country Teasers,
U.S. Maple,
Avey Tare,
A Flock of Seagulls,
Gong,
The Moleskins,
Mad Mike,
Kenny Larkin,
The West Coast Pop Art Experimental Band,
Grandmaster Flash and the Furious Five,
Oblivians,
Sam Rivers,
Rekid,
Intrusion,
Danielle Patucci,
Drive Like Jehu,
Joensuu 1685,
Sun Ra Arkestra,
Harry Pussy,
Animal Collective,
Derrick Morgan,
Rowland S Howard / Lydia Lunch,
Rapeman,
Rosa Yemen,
The Saints,
The Moody Blues,
Rakim,
Erasure,
Marine Girls,
The Fall,
Unrelated Segments,
Pharoah Sanders,
Peter & Gordon,
Fluxion,
Moebius,
The Cosmic Jokers,
Talk Talk,
Avey Tare's Slasher Flicks,
Pole,
Ten City,
New Age Steppers, New Age Steppers, New Age Steppers, New Age Steppers.
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.