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 Moldova and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Paris and Lagos.
I'm losing my edge to the art-school Bremen 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Mad Mike to the techno 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 The Grass Roots. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every Cymande 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 '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills 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?
Los Fastidios,
Ornette Coleman,
Amazonics,
Rufus Thomas,
Howard Jones,
the Association,
Letta Mbulu,
Roy Ayers Ubiquity,
The West Coast Pop Art Experimental Band,
Index,
The Martian,
Piero Umiliani,
Max Romeo,
The Mojo Men,
Quantec,
Adolescents,
Surgeon,
The Stooges,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Techniques,
The Smoke,
Brick,
Delon & Dalcan,
Sun Ra Arkestra,
H. Thieme,
ABBA,
The Golliwogs,
DJ Style,
Janne Schatter,
Silicon Teens,
Heaven 17,
Deadbeat,
Beasts of Bourbon,
The Alarm Clocks,
Second Layer,
the Bar-Kays,
Radiopuhelimet,
Isaac Hayes,
Marmalade,
Judy Mowatt,
Rakim,
Sandy B,
The Kinks,
Pussy Galore,
Derrick Morgan,
Warsaw,
Panda Bear,
Matthew Halsall,
Underground Resistance,
The Doors,
Popol Vuh,
Dennis Brown,
The Index,
Electric Prunes,
Echospace,
Pylon,
Pete Rock & C.L. Smooth,
The Chocolate Watch Band,
Can,
Deutsch Amerikanische Freundschaft,
The Seeds,
Country Joe & The Fish,
The Skatalites,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.