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 Lesotho and from Portland.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Toronto and Lyon.
I'm losing my edge to the art-school Copenhagen 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 crunk kids.
I played it at the Hacienda.
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 Buzzcocks. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Lou Reed & John Cale 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
Idris Muhammad,
Von Mondo,
The Neon Judgement,
Kerri Chandler,
The Star Department,
John Foxx,
Camouflage,
Jacques Brel,
Arcadia,
Joe Finger,
Juan Atkins,
Kas Product,
Niagra,
Infiniti,
Cybotron,
David Axelrod,
The Smoke,
Masters at Work,
Inner City,
Camron Feat. Memphis Bleek And Beenie Seigel,
Boogie Down Productions,
T. Rex,
Camberwell Now,
Pantaleimon,
Traffic Nightmare,
Sandy B,
The Cowsills,
Pagans,
Hardrive,
the Slits,
8 Eyed Spy,
Big Daddy Kane,
The Leaves,
L. Decosne,
Andrew Ashong & Theo Parrish,
The Doors,
Supertramp,
Jawbox,
Terry Callier,
Young Marble Giants,
The Red Krayola,
Marshall Jefferson,
The Real Kids,
Public Enemy,
Sad Lovers and Giants,
Organ,
The Cosmic Jokers,
Josef K,
Magma,
Country Joe & The Fish,
Ultimate Spinach,
X-101,
Can,
The Slits,
Trumans Water,
The Martian,
Cymande,
Kool G Rap & DJ Polo,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.