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 Argentina and from Lille.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Beijing and Jakarta.
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 clarinet 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 Chrome to the crunk 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 Faust. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Porter Ricks 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 a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
The American Breed,
The Sound,
Mars,
Deepchord,
D'Angelo,
James Chance & The Contortions,
Pantaleimon,
Cabaret Voltaire,
The Monks,
The Trojans,
Kool G Rap & DJ Polo,
Pagans,
Fluxion,
Jacques Brel,
Severed Heads,
Stereo Dub,
Lou Reed & Metallica,
Carl Craig,
Fad Gadget,
Larry & the Blue Notes,
Organ,
CMW,
Monolake,
Joensuu 1685,
The Slits,
X-102,
Schoolly D,
Second Layer,
Peter and Kerry,
Royal Trux,
Slick Rick,
Zero Boys,
Motorama,
Jesper Dahlbäck,
Sonny Sharrock,
Black Bananas,
Fugazi,
The Remains,
Crispy Ambulance,
Byron Stingily,
Bad Manners,
Amazonics,
Unrelated Segments,
PIL,
Pete Rock & C.L. Smooth,
Johnny Osbourne,
F. McDonald,
Ajijia Myrayebe,
The Zeros,
Minnie Riperton,
Orchestral Manoeuvres in the Dark,
Radio Birdman,
Metal Thangz,
Goldenarms,
Spandau Ballet,
Marc Almond,
Gary Puckett & The Union Gap,
Camron Feat. Memphis Bleek And Beenie Seigel,
Los Fastidios,
Saccharine Trust,
The Five Americans,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.