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 United States and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Accra and Paris.
I'm losing my edge to the art-school Lille 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer 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 Icehouse to the punk 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 Hardrive. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
Nils Olav,
Justin Hinds & The Dominoes,
Davy DMX,
Cybotron,
Sister Nancy,
Dawn Penn,
Bush Tetras,
Todd Rundgren,
Leonard Cohen,
Danielle Patucci,
L. Decosne,
Cameo,
Radiohead,
Bobby Womack,
Lalann,
Jandek,
Absolute Body Control,
Eric B and Rakim,
David Bowie,
Reuben Wilson,
Icehouse,
Neu!,
Moby Grape,
the Bar-Kays,
Nas,
Smog,
Moebius,
Bill Near,
Hoover,
Parry Music,
B.T. Express,
Kevin Saunderson,
Gil Scott-Heron and Jamie xx,
OOIOO,
Delon & Dalcan,
Sarah Menescal,
Ornette Coleman,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Gun Club,
Sunsets and Hearts,
The Sound,
Eric Copeland,
Bad Manners,
Maleditus Sound,
Symarip,
Gary Puckett & The Union Gap,
Susan Cadogan,
The Victims,
Johnny Clarke,
The Mighty Diamonds,
Dorothy Ashby,
Sugar Minott,
Bronski Beat,
Mandrill,
Brass Construction,
Fear,
Nik Kershaw,
Qualms,
Wolf Eyes,
Anakelly,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.