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 Zimbabwe and from Copenhagen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1971.
I'm losing my edge.
To all the kids in Portland and Salvador.
I'm losing my edge to the art-school Taipei 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Ludus 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 James Chance & The Contortions. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Wire record on German import.
I heard that you have a white label of every seminal funk 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 snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Raincoats record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Chrome,
Robert Görl,
The Divine Comedy,
Lebanon Hanover,
Subhumans,
Althea and Donna,
Das Ding,
Iggy Pop,
Make Up,
Second Layer,
The Wake,
Harry Pussy,
Easy Going,
Amon Düül II,
Shuggie Otis,
Masters at Work,
Smog,
The Litter,
Reagan Youth,
Flamin' Groovies,
Fort Wilson Riot,
Main Source,
U.S. Maple,
Neil Young & Crazy Horse,
Panda Bear,
Joey Negro,
Arcadia,
Thinking Fellers Union Local 282,
The Walker Brothers,
Godley & Creme,
Agitation Free,
David Bowie,
Ituana,
Johnny Osbourne,
Albert Ayler,
Quadrant,
The Men They Couldn't Hang,
Dual Sessions,
Röyhkä ja Rättö ja Lehtisalo,
The Barracudas,
Soft Cell,
Carl Craig,
Model 500,
the Association,
Funky Four + One,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Golliwogs,
Roy Ayers,
Pierre Henry,
Delta 5,
Isaac Hayes,
Sixth Finger,
Ohio Players,
Sound Behaviour,
Urselle,
A Flock of Seagulls,
KRS-One,
Girls At Our Best!,
Suburban Knight,
Crime, Crime, Crime, Crime.
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.