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 Kosovo and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Bologna.
I'm losing my edge to the art-school Mumbai 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 One Last Wish to the grime kids.
I played it at the Hacienda.
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 Absolute Body Control. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal disco 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment 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?
Siglo XX,
Shuggie Otis,
Rosa Yemen,
Rahsaan Roland Kirk,
Gang Green,
Swans,
Grauzone,
Royal Trux,
Laurel Aitken,
Rites of Spring,
Brand Nubian,
Darondo,
Gary Puckett & The Union Gap,
The Sisters of Mercy,
Curtis Mayfield,
Delon & Dalcan,
Inner City,
Todd Rundgren,
Pantytec,
The Doors,
The Zeros,
The Neon Judgement,
The Fugs,
Scratch Acid,
Kerrie Biddell,
The Grass Roots,
Derrick Morgan,
Rapeman,
Avey Tare & Kría Brekkan,
Reagan Youth,
The Motions,
Amazonics,
Trumans Water,
Dorothy Ashby,
Nas,
June of 44,
Morten Harket,
Sam Rivers,
Unwound,
Negative Approach,
Notorious Big And Bone Thugs,
OOIOO,
Terrestrial Tones,
Gang of Four,
The West Coast Pop Art Experimental Band,
Brick,
Soul Sonic Force,
Bootsy's Rubber Band,
Bronski Beat,
Avey Tare,
Zapp,
Sarah Menescal,
X-102,
Neil Young & Crazy Horse,
Fort Wilson Riot,
Wasted Youth,
Gil Scott Heron,
Gong,
Camberwell Now,
Newcleus,
Ituana, Ituana, Ituana, Ituana.
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.