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 Latvia and from Shanghai.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Stockholm 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Darondo to the grime 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Glambeats Corp.,
Camouflage,
Los Fastidios,
Crispian St. Peters,
F. McDonald,
Audionom,
Marshall Jefferson,
The Smiths,
Banda Bassotti,
Max Romeo,
Yusef Lateef,
The Index,
Infiniti,
It's A Beautiful Day,
Cecil Taylor,
OOIOO,
Derrick May,
Electric Light Orchestra,
Peter & Gordon,
K-Klass,
Roy Ayers Ubiquity,
Echo & the Bunnymen,
Cluster,
Nils Olav,
Faraquet,
Oblivians,
Carl Craig,
Gabor Szabo,
The Pretty Things,
The Mighty Diamonds,
Kool G Rap & DJ Polo,
The Monochrome Set,
Erasure,
The Remains,
Reagan Youth,
Wire,
Massinfluence,
Boz Scaggs,
Harmonia,
Junior Murvin,
Bill Wells,
Johnny Clarke,
The Moleskins,
Cal Tjader,
Excepter,
Pole,
Justin Hinds & The Dominoes,
Cameo,
John Cale,
Wings,
Quantec,
The Blackbyrds,
Stereo Dub,
The Busters,
Soulsonic Force,
Eli Mardock,
Sonny Sharrock,
Pussy Galore,
Lakeside,
Dave Gahan,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.