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 Accra.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Spokane and Lyon.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Scion to the techno 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 X-102. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Main Source record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
Negative Approach,
The Cowsills,
The Motions,
Notorious Big And Bone Thugs,
John Lydon,
Interpol,
Fort Wilson Riot,
The Gories,
Röyhkä ja Rättö ja Lehtisalo,
OOIOO,
Mr. Review,
Larry & the Blue Notes,
Nation of Ulysses,
Quantec,
Rekid,
Electric Light Orchestra,
Index,
Roxette,
Minutemen,
Joy Division,
The Young Rascals,
Scratch Acid,
John Holt,
Eden Ahbez,
Shoche,
Sällskapet,
Fear,
Lakeside,
Brick,
Curtis Mayfield,
Groovy Waters,
R.M.O.,
Todd Rundgren,
KRS-One,
Bauhaus,
Teenage Jesus and the Jerks,
Pharoah Sanders,
Icehouse,
Man Parrish,
Stetsasonic,
Bootsy Collins,
Bobby Hutcherson,
Organ,
Byron Stingily,
Agent Orange,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Schoolly D,
Cameo,
Joensuu 1685,
Ajijia Myrayebe,
Lizzy Mercier Descloux,
Bob Dylan,
Pole,
Second Layer,
Thee Headcoats,
Massinfluence,
Harmonia,
Warsaw,
Siouxsie and the Banshees,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.