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 Kyrgyzstan and from Taipei.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Manila 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 1968 at the first Can practice in a loft in Cologne.
I was working on the 808 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 Deakin to the dance 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 Shuggie Otis. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon 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?
Gang Gang Dance,
Skriet,
Dorothy Ashby,
The Black Dice,
cv313,
Skaos,
Das Ding,
Roy Ayers,
Desert Stars,
Liaisons Dangereuses,
Bauhaus,
Joe Smooth,
Young Marble Giants,
Tears for Fears,
Arcadia,
Clear Light,
Outsiders,
Tomorrow,
The Index,
Robert Hood,
Manfred Mann's Earth Band,
Kings Of Tomorrow,
The Trojans,
Intrusion,
Delon & Dalcan,
the Soft Cell,
Josef K,
Quando Quango,
Eurythmics,
Barrington Levy,
David Axelrod,
Bang On A Can,
Radiohead,
John Lydon,
Saccharine Trust,
Amazonics,
Teenage Jesus and the Jerks,
Second Layer,
The Neon Judgement,
The Sonics,
Unwound,
Pantaleimon,
Oppenheimer Analysis,
Reagan Youth,
Lizzy Mercier Descloux,
John Foxx,
Sly & The Family Stone,
Deepchord,
The Gap Band,
Marmalade,
The Wake,
Talk Talk,
June Days,
Con Funk Shun,
Nils Olav,
Leonard Cohen,
Mark Hollis,
Judy Mowatt,
The Knickerbockers,
Dark Day,
Niagra, Niagra, Niagra, Niagra.
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.