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 Benin and from Philadelphia.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Seoul and Paris.
I'm losing my edge to the art-school Mexico City 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 guitar sounds with much patience.
I was there when Robert Palmer 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 China Crisis to the funk 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 The Durutti Column. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every John Cale 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 '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Siouxsie and the Banshees,
K-Klass,
The Modern Lovers,
Anakelly,
Rufus Thomas,
Alton Ellis,
Deadbeat,
Black Bananas,
Los Fastidios,
Lucky Dragons,
the Swans,
Bill Wells,
Vainqueur,
Franke,
Ronnie Foster,
Kevin Saunderson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kings Of Tomorrow,
The Jesus and Mary Chain,
Susan Cadogan,
Eurythmics,
The Tremeloes,
Ultravox,
Groovy Waters,
Sun Ra,
Robert Wyatt,
Jandek,
Marc Almond,
Sun City Girls,
Man Parrish,
Con Funk Shun,
John Cale,
Rhythm & Sound,
Liliput,
Bang on a Can All-Stars,
The Stooges,
The Durutti Column,
Interpol,
L. Decosne,
Frankie Knuckles,
Mo-Dettes,
Malaria!,
Q65,
June Days,
Technova,
Radiohead,
Masters at Work,
Andrew Ashong & Theo Parrish,
Radiopuhelimet,
Visionaries,LMNO, T- Love & Iriscience,
Dorothy Ashby,
Faust,
The Young Rascals,
Trumans Water,
Monolake,
Popol Vuh,
Eyeless In Gaza,
The Blackbyrds,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.