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 Guatemala and from Paris.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Seoul.
I'm losing my edge to the art-school Delhi 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Martian to the grunge 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 Mantronix. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Reagan Youth 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Skarface record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Eyeless In Gaza,
The Saints,
Kenny Larkin,
Desert Stars,
Gil Scott Heron,
Spandau Ballet,
Hardrive,
Alphaville,
Danielle Patucci,
E-Dancer,
Mo-Dettes,
Rotary Connection,
The Last Poets,
Alison Limerick,
Glenn Branca,
Nas,
Main Source,
Wighnomy Brothers & Robag Wruhme,
Soft Machine,
Jawbox,
Rahsaan Roland Kirk,
The Moleskins,
Gian Franco Pienzio,
The Gun Club,
FM Einheit,
Deadbeat,
The Victims,
Agitation Free,
The Fuzztones,
The Five Americans,
Tears for Fears,
Sad Lovers and Giants,
Schoolly D,
Subhumans,
Letta Mbulu,
The Flesh Eaters,
Lou Reed & John Cale,
The Slits,
The Jesus and Mary Chain,
The Real Kids,
Connie Case,
Janne Schatter,
Scion,
New Order,
The Searchers,
Dead Boys,
Mantronix,
Wolf Eyes,
The Fire Engines,
Rhythm & Sound,
Cluster,
Sly & The Family Stone,
The Evens,
Eurythmics,
Grauzone,
Terror Squad Feat. Camron,
Rites of Spring,
Lyres,
Avey Tare's Slasher Flicks,
Blancmange, Blancmange, Blancmange, Blancmange.
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.