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 Ukraine and from Manila.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Cairo and Copenhagen.
I'm losing my edge to the art-school Edmonton 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 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 Eden Ahbez to the dance kids.
I played it at the 40 Watt.
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 Kayak. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Shoche 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 a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Frankie Knuckles,
Sällskapet,
Peter Gordon & Love of Life Orchestra,
The Dirtbombs,
Moss Icon,
Andrew Hill,
Rufus Thomas,
Girls At Our Best!,
Amon Düül,
The Mummies,
Country Teasers,
Avey Tare's Slasher Flicks,
Lucky Dragons,
Grandmaster Flash and the Furious Five,
AZ,
The Jesus and Mary Chain,
In Retrospect,
Minutemen,
Eddi Front,
Fat Boys,
Depeche Mode,
The Smiths,
Neil Young & Crazy Horse,
The New Christs,
Ronan,
The Star Department,
Joyce Sims,
Liliput,
Pet Shop Boys,
John Foxx,
Crispian St. Peters,
R.M.O.,
Lebanon Hanover,
The Peanut Butter Conspiracy,
Suicide,
Bill Wells,
Louis and Bebe Barron,
ABC,
The Sonics,
Funkadelic,
Sandy B,
Interpol,
Dual Sessions,
Kurtis Blow,
The West Coast Pop Art Experimental Band,
Boz Scaggs,
Bang on a Can All-Stars,
Heaven 17,
Sun Ra Arkestra,
Tomorrow,
the Normal,
Gil Scott-Heron & Brian Jackson,
Orchestral Manoeuvres in the Dark,
The Zeros,
Ajijia Myrayebe,
The Mojo Men,
Gil Scott Heron,
Talk Talk,
Aswad,
the Soft Cell,
Warsaw,
Dark Day, Dark Day, Dark Day, Dark Day.
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.