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 Mauritania and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Bologna and Mumbai.
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 snare sounds with much patience.
I was there when Tom Verlaine 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 Carl Craig to the punk 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 Dual Sessions. All the underground hits.
All Fifty Foot Hose tracks. I heard you have a vinyl of every Stereo Dub 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 '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
The Flesh Eaters,
It's A Beautiful Day,
Alison Limerick,
48th St. Collective,
the Human League,
Red Lorry Yellow Lorry,
Roy Ayers,
Crash Course in Science,
Shuggie Otis,
Wolf Eyes,
Nik Kershaw,
Minutemen,
The Black Dice,
Robert Görl,
Oblivians,
Y Pants,
Pagans,
Major Organ And The Adding Machine,
Ludus,
The Pop Group,
Intrusion,
Inner City,
Juan Atkins,
Gang Gang Dance,
Dave Gahan,
Angels of Light & Akron/Family,
Lebanon Hanover,
Max Romeo,
Jacob Miller,
The Slackers,
Susan Cadogan,
Ponytail,
Babytalk,
Ossler,
The Walker Brothers,
New Order,
Unrelated Segments,
Quantec,
The Birthday Party,
Main Source,
PIL,
Quadrant,
Funkadelic,
Aloha Tigers,
Technova,
Marc Romboy vs. Booka Shade,
The Techniques,
Aural Exciters,
Procol Harum,
Donny Hathaway,
Drive Like Jehu,
Livin' Joy,
Lalann,
Sexual Harrassment,
DJ Style,
Matthew Bourne,
Gil Scott-Heron & Brian Jackson,
Byron Stingily,
Lafayette Afro Rock Band,
Moss Icon,
Rahsaan Roland Kirk,
Echospace,
The Shadows of Knight,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.