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 Madagascar and from Manila.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Lyon and Beijing.
I'm losing my edge to the art-school Columbus 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 clarinet 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 Erykah Badu to the electroclash 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 Johnny Osbourne. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Bobbi Humphrey record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
The Men They Couldn't Hang,
Inner City,
Popol Vuh,
Outsiders,
Sonny Sharrock,
The Doors,
Scientists,
Ultra Naté,
K-Klass,
The Trojans,
The Alarm Clocks,
Man Parrish,
Aaron Thompson,
Rod Modell,
Yusef Lateef,
Theoretical Girls,
Roxette,
Echospace,
Lonnie Liston Smith,
UT,
Matthew Halsall,
Prince Buster,
Brothers Johnson,
A Flock of Seagulls,
The Walker Brothers,
The Techniques,
Ossler,
Arab on Radar,
Section 25,
Liliput,
Accadde A,
Excepter,
The Sisters of Mercy,
Clear Light,
Nico,
Marvin Gaye,
Hashim,
Fort Wilson Riot,
The Dead C,
Eve St. Jones,
Black Flag,
U.S. Maple,
Bush Tetras,
Andrew Ashong & Theo Parrish,
Sun City Girls,
Jacques Brel,
Moss Icon,
Goldenarms,
Masters at Work,
Monolake,
Marc Almond,
Warren Ellis,
The Detroit Cobras,
Siglo XX,
Gang Starr,
The Count Five,
Khruangbin,
Gil Scott-Heron & Brian Jackson,
Skriet,
Brick,
Lungfish,
Banda Bassotti,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.