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 Philippines and from Manchester.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 World's Most to the techno kids.
I played it at the Roxy.
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 Detroit Cobras. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every The Kinks 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Manfred Mann's Earth Band record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
Scott Walker + Sunn O))),
Laurel Aitken,
The Young Rascals,
Angry Samoans,
Avey Tare & Kría Brekkan,
Marc Romboy vs. Booka Shade,
Flipper,
John Lydon,
Subhumans,
This Heat,
Vladislav Delay,
The Barracudas,
The Gun Club,
L. Decosne,
Gichy Dan,
Soul II Soul,
Avey Tare's Slasher Flicks,
PIL,
Andrew Ashong & Theo Parrish,
Lizzy Mercier Descloux,
Manfred Mann's Earth Band,
Q and Not U,
Black Sheep,
Althea and Donna,
Moby Grape,
Colin Newman,
The Standells,
Bootsy's Rubber Band,
Soft Cell,
Pere Ubu,
Oneida,
Tres Demented,
Zero Boys,
B.T. Express,
Aural Exciters,
The New Christs,
Tomorrow,
The Vogues,
Fugazi,
Isaac Hayes,
Ohio Players,
Barry Ungar,
MC5,
The Searchers,
The Dirtbombs,
Scratch Acid,
Camouflage,
Mission of Burma,
Sam Rivers,
The Five Americans,
Freddie Wadling,
Theoretical Girls,
Rakim,
David Axelrod,
The Zeros,
Tom Boy,
Jacques Brel,
X-Ray Spex,
The Evens,
the Bar-Kays,
John Holt, John Holt, John Holt, John Holt.
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.