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 Kuwait and from Sao Paulo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1978.
I'm losing my edge.
To all the kids in Milan and Edmonton.
I'm losing my edge to the art-school Bologna 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Saints to the rap kids.
I played it at Cafe Wha.
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 Invisible. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Section 25 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 '70s.
I hear you're buying a mellotron and a chamberlin 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 spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Stereo Dub,
The Busters,
The Peanut Butter Conspiracy,
Black Pus,
Thompson Twins,
Unwound,
48th St. Collective,
Sight & Sound,
Monks,
The Jesus and Mary Chain,
Deadbeat,
Anthony Braxton,
Delta 5,
Bobby Sherman,
Moby Grape,
Y Pants,
Marshall Jefferson,
Jacques Brel,
The Star Department,
Camron Feat. Memphis Bleek And Beenie Seigel,
cv313,
Yaz,
DJ Style,
the Slits,
Accadde A,
Liaisons Dangereuses,
Derrick May,
Marine Girls,
Gong,
New Age Steppers,
Half Japanese,
Nils Olav,
Wasted Youth,
Man Eating Sloth,
Sun Ra,
Babytalk,
the Germs,
Notorious BIG live in Amsterdam,
Pulsallama,
This Heat,
In Retrospect,
Gil Scott-Heron and Jamie xx,
The Raincoats,
Marcia Griffiths,
The Sound,
Tommy Roe,
Procol Harum,
Pharaoh Sanders and the Fire Engines,
Television Personalities,
Shoche,
Bang on a Can All-Stars,
The Selecter,
Echospace,
Aaron Thompson,
Quadrant,
Fear,
Warsaw,
the Swans,
Joy Division,
Graham Central Station,
Maleditus Sound,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.