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 Latvia and from Lyon.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Manchester and Shanghai.
I'm losing my edge to the art-school Mexico City 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 at the first Suicide practice in a loft in New York.
I was working on the synthesizer 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 Selector Dub Narcotic to the dance 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 E-Dancer. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every 48th St. Collective 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Echo & the Bunnymen,
Eve St. Jones,
Joe Finger,
Skaos,
Juan Atkins,
Strawberry Alarm Clock,
Lou Reed & John Cale,
Country Joe & The Fish,
Japan,
Anakelly,
Charles Mingus,
Arab on Radar,
Connie Case,
Rakim,
Warsaw,
Carl Craig,
David McCallum,
Sister Nancy,
Red Lorry Yellow Lorry,
The Fuzztones,
Basic Channel,
The Sonics,
Funky Four + One,
Zapp,
The Star Department,
Freddie Wadling,
Visage,
Public Image Ltd.,
Fort Wilson Riot,
EPMD,
FM Einheit,
Moebius,
The Raincoats,
Idris Muhammad,
Marcia Griffiths,
Ajijia Myrayebe,
Sound Behaviour,
Scientists,
Drexciya,
Ituana,
Pulsallama,
Sixth Finger,
Black Bananas,
The Standells,
Public Enemy,
The Busters,
Stereo Dub,
Andrew Hill,
Bobby Womack,
Trumans Water,
Soft Machine,
Morten Harket,
New York Dolls,
DeepChord presents Echospace,
Fatback Band,
James White and The Blacks,
Todd Terry,
Mandrill,
Heavy D & The Boyz,
Liliput,
The Move,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.