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 Chile and from Cairo.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1969 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Spokane.
I'm losing my edge to the art-school Milan 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 snare sounds with much patience.
I was there when Tom Verlaine 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 It's A Beautiful Day 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 Spandau Ballet. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Eric B and Rakim 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub 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?
R.M.O.,
Rod Modell,
F. McDonald,
Main Source,
Black Moon,
Model 500,
Colin Newman,
Traffic Nightmare,
Minor Threat,
The Martian,
Gerry Rafferty,
Joe Finger,
Art Ensemble Of Chicago,
Stetsasonic,
Qualms,
The Dave Clark Five,
Alphaville,
Albert Ayler,
Freddie Wadling,
Juan Atkins,
Ohio Players,
The Victims,
Visage,
Major Organ And The Adding Machine,
Groovy Waters,
Avey Tare & Kría Brekkan,
Deadbeat,
Bobby Womack,
The Slackers,
Ornette Coleman,
Don Cherry,
Saccharine Trust,
Ituana,
Sam Rivers,
The Electric Prunes,
Brand Nubian,
Avey Tare's Slasher Flicks,
Wighnomy Brothers & Robag Wruhme,
Oblivians,
Cameo,
Banda Bassotti,
Ronnie Foster,
Marc Romboy vs. Booka Shade,
Half Japanese,
Susan Cadogan,
Aural Exciters,
The Mojo Men,
Lonnie Liston Smith,
Sparks,
The Angels of Light,
Magma,
Jacques Brel,
Toni Rubio,
Piero Umiliani,
Wally Richardson,
Derrick Morgan,
Patti Smith,
Pantaleimon,
China Crisis,
Cybotron,
Robert Görl,
Bob Dylan,
Rekid, Rekid, Rekid, Rekid.
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.