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 Barbados and from Salvador.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Manila 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the synthesizer 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 Popol Vuh to the punk kids.
I played it at the Spitz.
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 Zero Boys. All the underground hits.
All Dr. Dre and Snoop Doggy Dog tracks. I heard you have a vinyl of every Crispian St. Peters 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 '70s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
The Walker Brothers,
The Grass Roots,
John Coltrane,
Scion,
Marcia Griffiths,
The Saints,
The Detroit Cobras,
Man Parrish,
Max Romeo,
Spandau Ballet,
The Monks,
Lizzy Mercier Descloux,
Wasted Youth,
Bronski Beat,
Swans,
Electric Light Orchestra,
Amazonics,
Moby Grape,
Procol Harum,
Lonnie Liston Smith,
Kerri Chandler,
DeepChord presents Echospace,
The United States of America,
Arcadia,
The Names,
Ralphi Rosario,
Quando Quango,
ABC,
Deakin,
Pete Rock & C.L. Smooth,
Supertramp,
Byron Stingily,
Kaleidoscope,
The Motions,
Selector Dub Narcotic,
Mad Mike,
Ash Ra Tempel,
a-ha,
Marine Girls,
Cabaret Voltaire,
Unwound,
Drive Like Jehu,
Sound Behaviour,
The Cosmic Jokers,
Qualms,
Kevin Saunderson,
The Happenings,
The Dead C,
Isaac Hayes,
Eli Mardock,
Röyhkä ja Rättö ja Lehtisalo,
L. Decosne,
Scott Walker,
Jesper Dahlbäck,
Carl Craig,
Wings,
De La Soul & Jungle Brothers,
UT,
Yaz,
Bill Near, Bill Near, Bill Near, Bill Near.
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.