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 Germany and from Milan.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Toronto.
I'm losing my edge to the art-school Salvador 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Tim Buckley to the dance 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 Pop Group. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Masters at Work,
Pantaleimon,
Guru Guru,
Black Moon,
Vladislav Delay,
Angels of Light & Akron/Family,
La Düsseldorf,
Marine Girls,
Hot Snakes,
Grey Daturas,
Slave,
Terry Callier,
Gichy Dan,
Susan Cadogan,
Harpers Bizarre,
David McCallum,
Crooked Eye,
Lafayette Afro Rock Band,
Harmonia,
Drexciya,
Gil Scott Heron,
Pete Rock & C.L. Smooth,
Scientists,
Leonard Cohen,
Public Image Ltd.,
Agent Orange,
Red Lorry Yellow Lorry,
Byron Stingily,
Lou Reed,
Joensuu 1685,
The Kinks,
Excepter,
Crispian St. Peters,
Derrick Morgan,
Junior Murvin,
Gary Puckett & The Union Gap,
Silicon Teens,
Jerry's Kids,
the Fania All-Stars,
Section 25,
Throbbing Gristle,
FM Einheit,
Tomorrow,
Young Marble Giants,
Organ,
The Cure,
Nick Cave & The Bad Seeds,
Crash Course in Science,
Magma,
Q65,
Arthur Verocai,
Sunsets and Hearts,
Harry Pussy,
Alphaville,
The Chocolate Watch Band,
Goldenarms,
Ken Boothe,
Scrapy,
Inner City,
The Blues Magoos,
Lalann, Lalann, Lalann, Lalann.
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.