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 Ireland and from Columbus.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1968 to 1977.
I'm losing my edge.
To all the kids in London and Lyon.
I'm losing my edge to the art-school Tehran 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 FM Einheit to the rock 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 Normal. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Chris & Cosey,
Ajijia Myrayebe,
KRS-One,
Deutsch Amerikanische Freundschaft,
Sonny Sharrock,
The Busters,
John Cale,
Accadde A,
Rhythm & Sound,
Pierre Henry,
Soulsonic Force,
New York Dolls,
Barry Ungar,
Sexual Harrassment,
Thompson Twins,
Marine Girls,
Jesper Dahlbäck,
Black Moon,
Red Lorry Yellow Lorry,
the Swans,
Negative Approach,
Index,
The Saints,
Glambeats Corp.,
Delon & Dalcan,
The Knickerbockers,
Sly & The Family Stone,
Basic Channel,
Kerri Chandler,
Wighnomy Brothers & Robag Wruhme,
Don Cherry,
The Beau Brummels,
Louis and Bebe Barron,
Inner City,
Quando Quango,
The Royal Family And The Poor,
Danielle Patucci,
Bronski Beat,
Amon Düül,
Fear,
The Neon Judgement,
Black Bananas,
Be Bop Deluxe,
Make Up,
The Zeros,
Marshall Jefferson,
Hasil Adkins,
Peter Gordon & Love of Life Orchestra,
The United States of America,
Scott Walker,
Stockholm Monsters,
Slave,
Animal Collective,
Jawbox,
Glenn Branca,
Con Funk Shun,
The Fire Engines,
DeepChord presents Echospace,
James Chance & The Contortions,
Maurizio,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.