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 East Timor and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1972.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Philadelphia 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 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 Loose Ends to the techno kids.
I played it at the Troubador.
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 Half Japanese. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Black Bananas 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Motorama,
Rowland S Howard / Lydia Lunch,
Eyeless In Gaza,
Eurythmics,
Main Source,
Eli Mardock,
Pere Ubu,
The Star Department,
The Index,
Rhythim Is Rhythim,
Minnie Riperton,
La Düsseldorf,
Barbara Tucker,
The Standells,
Pharoah Sanders,
The Modern Lovers,
Jimmy McGriff,
The Detroit Cobras,
Massinfluence,
Young Marble Giants,
Warsaw,
Bizarre Inc.,
Saccharine Trust,
Dr. Dre and Snoop Doggy Dog,
Underground Resistance,
The Mojo Men,
Big Daddy Kane,
Heavy D & The Boyz,
Visionaries,LMNO, T- Love & Iriscience,
X-102,
Carl Craig,
Brothers Johnson,
Can,
Blossom Toes,
Jeff Mills,
Radiohead,
Royal Trux,
The Cowsills,
Country Joe & The Fish,
Pantaleimon,
Man Eating Sloth,
the Germs,
Jerry's Kids,
UT,
Lightning Bolt,
Soulsonic Force,
Organ,
Stockholm Monsters,
The West Coast Pop Art Experimental Band,
Black Sheep,
E-Dancer,
Eve St. Jones,
Sly & The Family Stone,
the Association,
Donald Byrd,
Ten City,
The Golliwogs,
A Flock of Seagulls,
The Shadows of Knight,
Grauzone,
The Zeros,
Bobbi Humphrey,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.