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 Guinea-Bissau and from Cairo.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lyon and Paris.
I'm losing my edge to the art-school Manchester 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Real Kids to the funk kids.
I played it at the Astoria.
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 Faraquet. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal techno 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 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Glenn Branca,
Gabor Szabo,
Marshall Jefferson,
The Move,
Visage,
Andrew Ashong & Theo Parrish,
Marcia Griffiths,
The Moody Blues,
Prince Buster,
The Young Rascals,
The United States of America,
Lou Christie,
Warsaw,
Big Daddy Kane,
Mary Jane Girls,
Das Ding,
Bobby Byrd,
Joe Finger,
Simply Red,
Ten City,
Bang on a Can All-Stars,
Pantytec,
The West Coast Pop Art Experimental Band,
David McCallum,
Skaos,
The Star Department,
Black Sheep,
The Mojo Men,
The Gun Club,
Unrelated Segments,
Pulsallama,
Rosa Yemen,
Slick Rick,
Red Lorry Yellow Lorry,
Echo & the Bunnymen,
Scion,
Soft Machine,
Quando Quango,
Peter & Gordon,
Charles Mingus,
the Slits,
LL Cool J,
Altered Images,
Kerri Chandler,
Fort Wilson Riot,
Hoover,
Brick,
Quadrant,
Jerry Gold Smith,
Pharaoh Sanders and the Fire Engines,
Nico,
The J.B.'s,
Janne Schatter,
Rapeman,
Pere Ubu,
The Residents,
ABBA,
Ponytail,
Suicide,
Lungfish, Lungfish, Lungfish, Lungfish.
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.