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 St Lucia and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Lille and Manila.
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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Ice-T to the punk 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 Sandy B. All the underground hits.
All The Music Machine 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 grime 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 theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Oppenheimer Analysis,
Can,
The Fire Engines,
Rekid,
Bauhaus,
Andrew Ashong & Theo Parrish,
The Slackers,
Robert Wyatt,
Nico,
Bootsy's Rubber Band,
Main Source,
Lebanon Hanover,
Von Mondo,
Yellowson,
Nirvana,
The Fuzztones,
Barrington Levy,
Eli Mardock,
Alison Limerick,
The Trojans,
Danielle Patucci,
Glambeats Corp.,
These Immortal Souls,
The Litter,
Roxy Music,
Gian Franco Pienzio,
Bad Manners,
The American Breed,
Ultimate Spinach,
Pharoah Sanders,
KRS-One,
Darondo,
Stockholm Monsters,
the Germs,
Sex Pistols,
The Index,
Stiv Bators,
Shoche,
Rhythm & Sound,
Orchestral Manoeuvres in the Dark,
Mandrill,
Sixth Finger,
JFA,
Notorious BIG live in Amsterdam,
The Gun Club,
Negative Approach,
Rowland S Howard / Lydia Lunch,
Model 500,
Oblivians,
The Gories,
Curtis Mayfield,
The Birthday Party,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Sonics,
Gil Scott Heron,
Wasted Youth,
Johnny Osbourne,
Marc Almond,
Massinfluence,
Be Bop Deluxe,
The Star Department,
Cluster,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.