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 Lesotho and from Tehran.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Delhi and Houston.
I'm losing my edge to the art-school Paris 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 Art of Noise practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Frankie Knuckles to the jazz kids.
I played it at Trash.
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 Donald Byrd. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Main Source record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins 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?
Warsaw,
Banda Bassotti,
Unwound,
Joe Smooth,
Lou Reed,
The Velvet Underground,
Hardrive,
The Dave Clark Five,
Cabaret Voltaire,
The Cure,
New York Dolls,
The Grass Roots,
Duran Duran,
JFA,
John Coltrane,
David Bowie,
Country Joe & The Fish,
Dark Day,
The Index,
The Shadows of Knight,
The Smoke,
Siouxsie and the Banshees,
Bob Dylan,
Archie Shepp,
Cybotron,
Lower 48,
The Royal Family And The Poor,
The Detroit Cobras,
Ice-T,
LL Cool J,
Lonnie Liston Smith,
Khruangbin,
Sun City Girls,
Amazonics,
The United States of America,
Eve St. Jones,
Ponytail,
FM Einheit,
Zapp,
Peter and Kerry,
Flipper,
Crispy Ambulance,
Qualms,
Black Sheep,
Letta Mbulu,
Peter & Gordon,
The Selecter,
Los Fastidios,
Minutemen,
Scott Walker,
Janne Schatter,
Davy DMX,
Unrelated Segments,
Agent Orange,
Bluetip,
The Residents,
Jacob Miller,
The West Coast Pop Art Experimental Band,
John Lydon,
Second Layer,
Arab on Radar,
Marshall Jefferson,
The Golliwogs,
Bobby Womack,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.