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 Brazil and from Stockholm.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Manila and Columbus.
I'm losing my edge to the art-school Mumbai 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 sitar 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 Detroit Cobras to the jazz 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 Scott Walker + Sunn O))). All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
the Soft Cell,
This Heat,
Television Personalities,
Bill Near,
Shoche,
Slave,
Andrew Ashong & Theo Parrish,
U.S. Maple,
Infiniti,
Kool G Rap & DJ Polo,
Outsiders,
The Pop Group,
Negative Approach,
Moby Grape,
Organ,
Thompson Twins,
Kerri Chandler,
Dark Day,
The Count Five,
Prince Buster,
The Skatalites,
Gichy Dan,
One Last Wish,
The Moleskins,
Lebanon Hanover,
Don Cherry,
Ajijia Myrayebe,
Ossler,
Orchestral Manoeuvres in the Dark,
James Chance & The Contortions,
Soul Sonic Force,
David Bowie,
Erasure,
Skriet,
Oppenheimer Analysis,
Gong,
The Fortunes,
Charles Mingus,
Barclay James Harvest,
Monolake,
Sam Rivers,
The Golliwogs,
Ice-T,
Marc Romboy vs. Booka Shade,
Alton Ellis,
Rekid,
The Wake,
Scott Walker,
Arab on Radar,
Leonard Cohen,
Hot Snakes,
Whodini,
Pierre Henry,
Masters at Work,
The Angels of Light,
LL Cool J,
Visionaries,LMNO, T- Love & Iriscience,
B.T. Express,
The Victims,
Interpol,
The Men They Couldn't Hang,
Jandek,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.