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 Netherlands and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Hong Kong.
I'm losing my edge to the art-school Tokyo 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 harpsichord 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 The Red Krayola to the disco kids.
I played it at the Roxy.
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 Monks. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Yusef Lateef 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 '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Newcleus,
Marshall Jefferson,
Joensuu 1685,
The Names,
Amon Düül,
Whodini,
Louis and Bebe Barron,
PIL,
Technova,
Rakim,
Roy Ayers Ubiquity,
The Electric Prunes,
The Techniques,
The Victims,
Mark Hollis,
The Motions,
Yazoo,
F. McDonald,
David McCallum,
X-101,
The Shadows of Knight,
Surgeon,
Marvin Gaye,
AZ,
Neil Young & Crazy Horse,
Big Daddy Kane,
The Beau Brummels,
Pet Shop Boys,
Tropical Tobacco,
Albert Ayler,
Man Parrish,
The Walker Brothers,
Crispian St. Peters,
Unwound,
Alison Limerick,
Sonic Youth,
Quantec,
Wings,
Pete Rock & C.L. Smooth,
Lucky Dragons,
Wolf Eyes,
Altered Images,
R.M.O.,
the Slits,
Kevin Saunderson,
Rhythm & Sound,
Oppenheimer Analysis,
Art Ensemble Of Chicago,
Roxy Music,
Sly & The Family Stone,
Black Sheep,
FM Einheit,
Marc Romboy vs. Booka Shade,
Minnie Riperton,
Gian Franco Pienzio,
Stiv Bators,
Liliput,
Ornette Coleman,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.