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 United States and from Madrid.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Toronto and Toronto.
I'm losing my edge to the art-school Manila 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 oboe 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 The Fortunes to the electroclash 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 The American Breed. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Reagan Youth 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 '80s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Barbara Tucker,
Dark Day,
Gil Scott-Heron and Jamie xx,
Malaria!,
Terry Callier,
Roxy Music,
Boredoms,
Qualms,
Man Eating Sloth,
Sun Ra,
Thee Headcoats,
DJ Sneak,
Country Teasers,
One Last Wish,
Fluxion,
Mark Hollis,
The Kinks,
Yazoo,
Lizzy Mercier Descloux,
Donny Hathaway,
Bush Tetras,
Robert Görl,
Ash Ra Tempel,
Absolute Body Control,
Country Joe & The Fish,
Gil Scott Heron,
Peter & Gordon,
Black Sheep,
Nation of Ulysses,
Eddi Front,
Colin Newman,
Deutsch Amerikanische Freundschaft,
Sunsets and Hearts,
Rakim,
Chrome,
Sparks,
Magma,
Terrestrial Tones,
Public Enemy,
UT,
Royal Trux,
Tubeway Army,
Marc Almond,
The Gories,
Nils Olav,
Aural Exciters,
Japan,
Isaac Hayes,
H. Thieme,
Ornette Coleman,
Agitation Free,
Scion,
The Martian,
Johnny Osbourne,
Kool G Rap & DJ Polo,
Albert Ayler,
Talk Talk,
Fatback Band,
Siouxsie and the Banshees,
Bill Wells,
The Durutti Column,
Eden Ahbez,
Skriet, Skriet, Skriet, Skriet.
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.