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 Venezuela and from Seoul.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Salvador and Mumbai.
I'm losing my edge to the art-school Stockholm 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 Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 The Fuzztones to the grime kids.
I played it at the Hacienda.
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 James Chance & The Contortions. All the underground hits.
All Technova tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Liaisons Dangereuses,
James White and The Blacks,
Pylon,
Suicide,
Black Moon,
The Neon Judgement,
Loose Ends,
Eyeless In Gaza,
Ohio Players,
Tropical Tobacco,
Spandau Ballet,
The Index,
Parry Music,
June Days,
Lafayette Afro Rock Band,
Bobby Hutcherson,
The Residents,
the Slits,
Aswad,
Howard Jones,
Wire,
Piero Umiliani,
Au Pairs,
Camberwell Now,
Deakin,
Schoolly D,
Gang Gang Dance,
the Human League,
Dorothy Ashby,
Wings,
Saccharine Trust,
Mark Hollis,
The Real Kids,
Ten City,
Frankie Knuckles,
Silicon Teens,
Procol Harum,
Johnny Osbourne,
Jandek,
Shuggie Otis,
Brothers Johnson,
Sam Rivers,
Soul Sonic Force,
Grandmaster Flash,
Andrew Ashong & Theo Parrish,
Spoonie Gee,
Max Romeo,
Bad Manners,
Faust,
Kool G Rap & DJ Polo,
Dave Gahan,
Duran Duran,
Freddie Wadling,
Eurythmics,
Amon Düül II,
Faraquet,
Danielle Patucci,
Neu!,
Visionaries,LMNO, T- Love & Iriscience, Visionaries,LMNO, T- Love & Iriscience, Visionaries,LMNO, T- Love & Iriscience, Visionaries,LMNO, T- Love & Iriscience.
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.