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 Israel and from Mexico City.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
I'm losing my edge to the art-school Delhi 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 David Bowie 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 Camron Feat. Jay Z And Juelz to the grunge 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 Black Moon. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Robert Hood 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Inner City,
the Association,
Das Ding,
Eden Ahbez,
Sixth Finger,
Roxette,
Bobby Byrd,
Nick Fraelich,
Nation of Ulysses,
Newcleus,
Tropical Tobacco,
Avey Tare's Slasher Flicks,
Aaron Thompson,
Boredoms,
KRS-One,
UT,
Joe Smooth,
Oppenheimer Analysis,
Model 500,
DJ Sneak,
Chris Corsano,
John Cale,
Simply Red,
Bootsy Collins,
Section 25,
Kevin Saunderson,
Howard Jones,
Andrew Hill,
The Mojo Men,
Arthur Verocai,
Barrington Levy,
Rhythim Is Rhythim,
Erasure,
John Holt,
Oblivians,
The Durutti Column,
Young Marble Giants,
OOIOO,
Electric Prunes,
Zapp,
Bobby Hutcherson,
Mantronix,
The Motions,
Television,
Stiv Bators,
Lizzy Mercier Descloux,
Red Lorry Yellow Lorry,
Sparks,
Fela Kuti,
David McCallum,
The Sonics,
Dorothy Ashby,
Pussy Galore,
Yaz,
Arcadia,
Y Pants,
John Foxx,
Delta 5,
Talk Talk,
New Age Steppers,
Second Layer,
K-Klass, K-Klass, K-Klass, K-Klass.
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.