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 Nigeria and from Jakarta.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Toronto and Mumbai.
I'm losing my edge to the art-school Halifax 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Gang of Four to the crunk kids.
I played it at the 40 Watt.
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 Underground Resistance. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Throbbing Gristle record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Lalo Schifrin,
The United States of America,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Notorious Big And Bone Thugs,
Flash Fearless,
AZ,
Amazonics,
Ronan,
Public Image Ltd.,
Parry Music,
Blancmange,
Red Lorry Yellow Lorry,
Kevin Saunderson,
Althea and Donna,
Sad Lovers and Giants,
Warsaw,
Alphaville,
New Age Steppers,
Television,
Peter and Kerry,
Gil Scott-Heron & Brian Jackson,
The Tremeloes,
Bush Tetras,
The Techniques,
Lungfish,
Youth Brigade,
the Soft Cell,
Lou Reed & Metallica,
Bizarre Inc.,
Tres Demented,
Bang on a Can All-Stars,
The Names,
Marc Almond,
Oblivians,
It's A Beautiful Day,
Idris Muhammad,
Slick Rick,
Animal Collective,
Derrick May,
Scratch Acid,
Minny Pops,
Carl Craig,
Radiopuhelimet,
David McCallum,
Orchestral Manoeuvres in the Dark,
Radio Birdman,
Black Pus,
the Bar-Kays,
Larry & the Blue Notes,
The Trojans,
London Community Gospel Choir,
Gang Starr,
John Coltrane,
Eric Dolphy,
Guru Guru,
Mo-Dettes,
The Smiths,
Gong,
Maurizio,
Can,
The Count Five,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.