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 Armenia and from Sao Paulo.
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 1978.
I'm losing my edge.
To all the kids in London and Beijing.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer 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 The Detroit Cobras to the jazz 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 The Doors. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every The Knickerbockers 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 '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Sticky Fingaz feat. Raekwon,
The Dead C,
Deakin,
The Knickerbockers,
Kauko Röyhkä ja Narttu,
Beasts of Bourbon,
Public Enemy,
Althea and Donna,
UT,
The Gladiators,
Magazine,
Arab on Radar,
Stetsasonic,
Gang of Four,
Negative Approach,
Bill Wells,
Scott Walker,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Glambeats Corp.,
Johnny Clarke,
DJ Style,
The Gap Band,
Joy Division,
Ajijia Myrayebe,
Slick Rick,
Isaac Hayes,
June of 44,
Bob Dylan,
The Blues Magoos,
Mandrill,
Darondo,
David McCallum,
Alison Limerick,
Loose Ends,
Camouflage,
Charles Mingus,
T.S.O.L.,
Fluxion,
Skaos,
Guru Guru,
The Stooges,
Massinfluence,
Dave Gahan,
Camberwell Now,
Louis and Bebe Barron,
The Smiths,
Ludus,
Bluetip,
Boredoms,
Gil Scott Heron,
Unwound,
China Crisis,
Sexual Harrassment,
The Peanut Butter Conspiracy,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Vogues,
The Durutti Column,
Ornette Coleman,
Grey Daturas,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.