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 Maldives and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in Taipei and Tehran.
I'm losing my edge to the art-school Calgary 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Scan 7. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Loose Ends 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Liliput,
Nation of Ulysses,
Kool G Rap & DJ Polo,
Eric Copeland,
F. McDonald,
Althea and Donna,
U.S. Maple,
Organ,
Drive Like Jehu,
Captain Beefheart & His Magic Band,
The Mojo Men,
Bill Near,
Panda Bear,
Fela Kuti,
Sparks,
London Community Gospel Choir,
Grandmaster Flash,
MC5,
Throbbing Gristle,
Chris Corsano,
Aloha Tigers,
Minutemen,
June Days,
Spoonie Gee,
Rekid,
Can,
The Modern Lovers,
Main Source,
The Trojans,
Fatback Band,
L. Decosne,
Ultramagnetic MC's,
Donald Byrd,
Shoche,
Kool Moe Dee,
Eurythmics,
James Chance & The Contortions,
The Selecter,
Massinfluence,
Henry Cow,
Bang On A Can,
The Dave Clark Five,
The Gun Club,
The American Breed,
Ultra Naté,
Hardrive,
Nirvana,
John Cale,
The Victims,
Joy Division,
X-102,
ABBA,
Technova,
Quadrant,
Ossler,
Stiv Bators,
The Blues Magoos,
Tres Demented,
Thinking Fellers Union Local 282,
Joyce Sims,
Teenage Jesus and the Jerks,
Boz Scaggs,
CMW, CMW, CMW, CMW.
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.