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 Turkey and from Toronto.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Bremen 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 güiro 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 Camron Feat. Memphis Bleek And Beenie Seigel to the techno kids.
I played it at the Astoria.
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 Nirvana. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Reuben Wilson record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
This Heat,
Skaos,
Howard Jones,
Frankie Knuckles,
The Beau Brummels,
Cecil Taylor,
Vladislav Delay,
The United States of America,
Duran Duran,
Lalo Schifrin,
Scion,
Dorothy Ashby,
Todd Rundgren,
Popol Vuh,
Crispy Ambulance,
London Community Gospel Choir,
Sexual Harrassment,
Japan,
Mary Jane Girls,
Funkadelic,
Eli Mardock,
Scott Walker,
Donny Hathaway,
Teenage Jesus and the Jerks,
World's Most,
Malaria!,
the Germs,
Yusef Lateef,
Bootsy's Rubber Band,
The Trojans,
Little Man,
Soulsonic Force,
Terror Squad Feat. Camron,
Isaac Hayes,
Depeche Mode,
Aural Exciters,
Dave Gahan,
Mandrill,
Echo & the Bunnymen,
Goldenarms,
Livin' Joy,
Boogie Down Productions,
Avey Tare's Slasher Flicks,
The Durutti Column,
Laurel Aitken,
Sister Nancy,
Nas,
Eyeless In Gaza,
Spoonie Gee,
Toni Rubio,
Carl Craig,
The Gap Band,
Amon Düül,
kango's stein massive,
Glenn Branca,
The Black Dice,
The Wake,
The Blackbyrds,
The Cowsills,
Moss Icon,
The Cramps, The Cramps, The Cramps, The Cramps.
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.