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 Dominica and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Milan and Mexico City.
I'm losing my edge to the art-school Tehran 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Andrew Hill to the rock 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 The Black Dice. All the underground hits.
All Jeff Lynne tracks. I heard you have a vinyl of every Idris Muhammad 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Guru Guru,
Cluster,
Steve Hackett,
The Zeros,
Sugar Minott,
Soft Machine,
Tubeway Army,
Black Sheep,
The Seeds,
Eddi Front,
Nico,
John Cale,
Crispy Ambulance,
The Cramps,
The Young Rascals,
Roxette,
Glambeats Corp.,
Ultravox,
Bob Dylan,
The New Christs,
Essential Logic,
Yusef Lateef,
Siouxsie and the Banshees,
Gang Starr,
Alton Ellis,
Minor Threat,
Neil Young,
Patti Smith,
Radio Birdman,
Pussy Galore,
London Community Gospel Choir,
Harpers Bizarre,
Skarface,
The Doobie Brothers,
Marvin Gaye,
Kurtis Blow,
Brothers Johnson,
The Black Dice,
Matthew Bourne,
Erykah Badu,
Cabaret Voltaire,
Gang of Four,
Subhumans,
Minnie Riperton,
The Beau Brummels,
Kauko Röyhkä ja Narttu,
Chris & Cosey,
Mary Jane Girls,
the Bar-Kays,
Crime,
Susan Cadogan,
Slave,
Grey Daturas,
Intrusion,
Dead Boys,
Marcia Griffiths,
New Age Steppers,
Big Daddy Kane,
Ultramagnetic MC's,
Absolute Body Control,
The Real Kids,
The Music Machine,
Mars,
Qualms, Qualms, Qualms, Qualms.
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.