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 Gabon and from London.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Bremen and Lyon.
I'm losing my edge to the art-school Toronto 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 DJ Sneak to the electroclash kids.
I played it at the Crocodile.
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 cv313. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every The Searchers record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Henry Cow,
Spandau Ballet,
Curtis Mayfield,
Davy DMX,
Don Cherry,
Joyce Sims,
Todd Rundgren,
Crash Course in Science,
Dead Boys,
Fear,
Television,
Beasts of Bourbon,
Thee Headcoats,
Shuggie Otis,
Susan Cadogan,
Electric Prunes,
Y Pants,
The Detroit Cobras,
New York Dolls,
The Gories,
Rhythm & Sound,
The Slits,
Throbbing Gristle,
Toni Rubio,
Harry Pussy,
Selector Dub Narcotic,
Barrington Levy,
Underground Resistance,
H. Thieme,
Wire,
The Smoke,
Barbara Tucker,
Absolute Body Control,
The Vogues,
The Evens,
Angry Samoans,
Carl Craig,
Can,
Cluster,
Wighnomy Brothers & Robag Wruhme,
FM Einheit,
June of 44,
The Monochrome Set,
Icehouse,
ABC,
The Sonics,
Larry & the Blue Notes,
Pete Rock & C.L. Smooth,
The Happenings,
Rotary Connection,
Radio Birdman,
The Gun Club,
Pet Shop Boys,
Fatback Band,
Heavy D & The Boyz,
Manfred Mann's Earth Band,
Eden Ahbez,
Das Ding,
The Victims,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.