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 Antigua and from Milan.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Delhi and Woodstock.
I'm losing my edge to the art-school Stockholm 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Ohio Players to the rock kids.
I played it at CBGB's.
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 Todd Terry. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Liaisons Dangereuses,
Icehouse,
John Coltrane,
UT,
Minny Pops,
Mad Mike,
Dr. Dre and Snoop Doggy Dog,
Gil Scott-Heron and Jamie xx,
MDC,
Amon Düül,
Matthew Halsall,
EPMD,
Pulsallama,
Amazonics,
Sugar Minott,
Organ,
Vladislav Delay,
The Selecter,
Donald Byrd,
Reuben Wilson,
Pantytec,
The Blues Magoos,
Ash Ra Tempel,
Louis and Bebe Barron,
Mo-Dettes,
Newcleus,
Joe Smooth,
Kool G Rap & DJ Polo,
Eyeless In Gaza,
The Real Kids,
Reagan Youth,
Delon & Dalcan,
Glambeats Corp.,
Terrestrial Tones,
The Invisible,
Barclay James Harvest,
Fatback Band,
The Red Krayola,
Bush Tetras,
Avey Tare,
Massinfluence,
Boogie Down Productions,
Youth Brigade,
Justin Hinds & The Dominoes,
Angels of Light & Akron/Family,
Soft Machine,
K-Klass,
Alice Coltrane,
Rhythm & Sound,
Gong,
The Birthday Party,
Lebanon Hanover,
Niagra,
Echo & the Bunnymen,
Traffic Nightmare,
Fifty Foot Hose,
The Busters,
Rotary Connection,
Archie Shepp,
Basic Channel,
De La Soul & Jungle Brothers,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.