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 Slovakia and from Columbus.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Paris 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Brand Nubian to the punk kids.
I played it at the Troubador.
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 Juan Atkins. All the underground hits.
All Electric Prunes 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 electroclash 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
the Bar-Kays,
Brick,
Basic Channel,
Röyhkä ja Rättö ja Lehtisalo,
Anthony Braxton,
Country Teasers,
Althea and Donna,
Qualms,
The Move,
Grandmaster Flash and the Furious Five,
The Doors,
Ponytail,
Wire,
The Fall,
Porter Ricks,
Rapeman,
Dr. Dre and Snoop Doggy Dog,
Essential Logic,
Erykah Badu,
48th St. Collective,
One Last Wish,
Adolescents,
John Lydon,
Bobbi Humphrey,
Richard Hell and the Voidoids,
Grauzone,
The J.B.'s,
Slave,
Kayak,
Camron Feat. Memphis Bleek And Beenie Seigel,
Donald Byrd,
Ajijia Myrayebe,
Model 500,
Ultravox,
the Germs,
Rowland S Howard / Lydia Lunch,
Mantronix,
Newcleus,
Crime,
Lower 48,
The Cure,
Gregory Isaacs,
PIL,
Tears for Fears,
New Order,
The Star Department,
Tommy Roe,
Motorama,
The Cramps,
The Smoke,
Lebanon Hanover,
Chris Corsano,
Black Sheep,
The Birthday Party,
Cybotron,
Amon Düül II,
The Black Dice,
Bootsy Collins,
The Gap Band,
Curtis Mayfield,
Kauko Röyhkä ja Narttu,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.