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 Latvia and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Halifax and Bologna.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Metal Thangz to the dance kids.
I played it at the 40 Watt.
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 Laurel Aitken. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Laurel Aitken,
Infiniti,
Nik Kershaw,
Rowland S Howard / Lydia Lunch,
Man Parrish,
Danielle Patucci,
Pharaoh Sanders and the Fire Engines,
Hoover,
The Busters,
Jerry's Kids,
Cluster,
Lalann,
Brick,
Rotary Connection,
Gong,
Anthony Braxton,
Moebius,
Girls At Our Best!,
Beasts of Bourbon,
Main Source,
The United States of America,
Super Lover Cee & Casanova Rud,
Von Mondo,
Aswad,
Sunsets and Hearts,
Q and Not U,
Moby Grape,
E-Dancer,
The Smoke,
The Jesus and Mary Chain,
The Pop Group,
Kool Moe Dee,
The Saints,
Reagan Youth,
Oppenheimer Analysis,
Justin Hinds & The Dominoes,
Severed Heads,
Eric Copeland,
The Monochrome Set,
The Red Krayola,
Ronan,
Major Organ And The Adding Machine,
a-ha,
Amon Düül,
Erasure,
Avey Tare,
Idris Muhammad,
Tres Demented,
Gang Green,
In Retrospect,
Throbbing Gristle,
The West Coast Pop Art Experimental Band,
James White and The Blacks,
Ajijia Myrayebe,
Peter & Gordon,
Erykah Badu,
Essential Logic,
Country Teasers,
T. Rex,
Sun City Girls,
The Fall,
Gang of Four,
These Immortal Souls,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.