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 Niger and from Taipei.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 sitar 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 Sound to the grunge kids.
I played it at the Hacienda.
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 Beasts of Bourbon. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Bizarre Inc.,
a-ha,
Crispy Ambulance,
The Invisible,
Kevin Saunderson,
Ohio Players,
cv313,
The Evens,
Country Joe & The Fish,
Pierre Henry,
Alice Coltrane,
Sunsets and Hearts,
Fluxion,
Marc Almond,
David McCallum,
The Young Rascals,
Oblivians,
Bobby Byrd,
Red Lorry Yellow Lorry,
Wings,
Mission of Burma,
Selector Dub Narcotic,
Rufus Thomas,
Lee Hazlewood,
The Real Kids,
The Standells,
Ituana,
Subhumans,
Pete Rock & C.L. Smooth,
the Germs,
Sandy B,
Absolute Body Control,
The Dirtbombs,
Siglo XX,
The Busters,
Das Ding,
Chris Corsano,
New Order,
Infiniti,
Negative Approach,
Magma,
The Modern Lovers,
Sex Pistols,
Terrestrial Tones,
Silicon Teens,
T. Rex,
Howard Jones,
Dual Sessions,
Camouflage,
Graham Central Station,
Art Ensemble Of Chicago,
Eli Mardock,
Goldenarms,
Tropical Tobacco,
The Techniques,
Joe Finger,
Amon Düül II,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.