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 United States and from Paris.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Spokane.
I'm losing my edge to the art-school Winnipeg 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 guitar 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 Gabor Szabo to the grime kids.
I played it at Cafe Wha.
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 Oppenheimer Analysis. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
48th St. Collective,
The Names,
Kerri Chandler,
Lou Christie,
Kango’s Stein Massive,
Radio Birdman,
The Blues Magoos,
The Motions,
The Remains,
Harmonia,
Pagans,
Hasil Adkins,
Dual Sessions,
The Move,
The Fire Engines,
The Velvet Underground,
Con Funk Shun,
Hardrive,
the Soft Cell,
Radiopuhelimet,
Echo & the Bunnymen,
MC5,
The Vogues,
Unrelated Segments,
The Angels of Light,
UT,
Curtis Mayfield,
Archie Shepp,
Barry Ungar,
Amon Düül,
The Neon Judgement,
David Axelrod,
Country Joe & The Fish,
Sugar Minott,
Sticky Fingaz feat. Raekwon,
Neil Young & Crazy Horse,
Flamin' Groovies,
Amazonics,
Kerrie Biddell,
Spoonie Gee,
June of 44,
Soulsonic Force,
Isaac Hayes,
Agitation Free,
Buzzcocks,
The Index,
Theoretical Girls,
the Human League,
Popol Vuh,
K-Klass,
Beasts of Bourbon,
Masters at Work,
Japan,
The Divine Comedy,
Magazine,
The Pop Group,
Metal Thangz,
Carl Craig,
Radiohead,
OOIOO,
John Foxx,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.