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 Bolivia and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Manchester and Woodstock.
I'm losing my edge to the art-school Hong Kong 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare 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 Cluster to the rap kids.
I played it at Trash.
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 Bizarre Inc.. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Howard Jones,
E-Dancer,
Urselle,
The Techniques,
Sparks,
Bang On A Can,
Ken Boothe,
Liaisons Dangereuses,
The Pretty Things,
Loose Ends,
Outsiders,
Oppenheimer Analysis,
Be Bop Deluxe,
Anthony Braxton,
The American Breed,
Con Funk Shun,
Peter Gordon & Love of Life Orchestra,
Nico,
Can,
Eve St. Jones,
Sad Lovers and Giants,
The J.B.'s,
Josef K,
Lou Reed & Metallica,
The Pop Group,
Magma,
Deadbeat,
Country Joe & The Fish,
Reuben Wilson,
Swell Maps,
Nils Olav,
Neu!,
Eyeless In Gaza,
Crispian St. Peters,
In Retrospect,
Dawn Penn,
Soft Machine,
Donny Hathaway,
Popol Vuh,
Porter Ricks,
Malaria!,
New Age Steppers,
Gabor Szabo,
Bobby Womack,
Banda Bassotti,
David McCallum,
The Monochrome Set,
Bad Manners,
The Cramps,
Cybotron,
Don Cherry,
Buzzcocks,
Roy Ayers,
Aaron Thompson,
Rod Modell,
Camron Feat. Memphis Bleek And Beenie Seigel,
Electric Light Orchestra,
Jesper Dahlback,
Motorama, Motorama, Motorama, Motorama.
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.