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 Comoros and from Beijing.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Lille.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum 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 Fatback Band to the punk 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 Motorama. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal techno 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 an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Stockholm Monsters,
Gary Puckett & The Union Gap,
Captain Beefheart & His Magic Band,
A Flock of Seagulls,
Barclay James Harvest,
Nik Kershaw,
Ossler,
The Cosmic Jokers,
Eli Mardock,
Pharoah Sanders,
Schoolly D,
Sad Lovers and Giants,
Sound Behaviour,
Marine Girls,
Sun Ra Arkestra,
Y Pants,
Steve Hackett,
Pulsallama,
Talk Talk,
The United States of America,
Oppenheimer Analysis,
Kevin Saunderson,
Wally Richardson,
John Lydon,
The Cramps,
The Mummies,
Jesper Dahlbäck,
Wolf Eyes,
Shuggie Otis,
Gabor Szabo,
The Star Department,
Scientists,
Bobby Womack,
Eden Ahbez,
Marshall Jefferson,
Hot Snakes,
Second Layer,
Tropical Tobacco,
Nils Olav,
Warren Ellis,
Peter Gordon & Love of Life Orchestra,
Lebanon Hanover,
Louis and Bebe Barron,
Sandy B,
Fifty Foot Hose,
Tom Boy,
Little Man,
Cybotron,
Rotary Connection,
Metal Thangz,
Red Lorry Yellow Lorry,
Excepter,
Dawn Penn,
Scan 7,
Malaria!,
The Last Poets,
Spoonie Gee,
Röyhkä ja Rättö ja Lehtisalo,
Swans,
Kango’s Stein Massive,
Idris Muhammad,
Television, Television, Television, Television.
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.