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 Trinidad & Tobago and from London.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Salvador and Madrid.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Barry Ungar to the disco kids.
I played it at the Spitz.
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 Gil Scott Heron. All the underground hits.
All The Cosmic Jokers tracks. I heard you have a vinyl of every Soul Sonic Force record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Essential Logic,
Throbbing Gristle,
Oblivians,
Dorothy Ashby,
Mary Jane Girls,
Ornette Coleman,
One Last Wish,
Popol Vuh,
Dead Boys,
Neil Young & Crazy Horse,
Avey Tare,
Danielle Patucci,
Manfred Mann's Earth Band,
Au Pairs,
Soul Sonic Force,
James Chance & The Contortions,
Liaisons Dangereuses,
Urselle,
Brothers Johnson,
Lee Hazlewood,
Niagra,
Loose Ends,
MDC,
Lindisfarne,
Jawbox,
Bobby Byrd,
Dual Sessions,
Arab on Radar,
La Düsseldorf,
James White and The Blacks,
Rufus Thomas,
The Happenings,
The Blues Magoos,
Hardrive,
Moebius,
The Knickerbockers,
Talk Talk,
Brick,
The Evens,
Radiohead,
China Crisis,
Ralphi Rosario,
Deutsch Amerikanische Freundschaft,
Rhythm & Sound,
Gang Gang Dance,
Yaz,
Chrome,
Aaron Thompson,
Leonard Cohen,
Gian Franco Pienzio,
Rotary Connection,
Amazonics,
Alton Ellis,
Jeff Lynne,
Graham Central Station,
The Walker Brothers,
Mo-Dettes,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.