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 Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Halifax.
I'm losing my edge to the art-school London 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 linndrum sounds with much patience.
I was there when David Bowie 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 48th St. Collective to the dance 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 Avey Tare & Kría Brekkan. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
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 Rhythim Is Rhythim record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
The Barracudas,
Rekid,
Black Moon,
Sun Ra,
B.T. Express,
Electric Light Orchestra,
John Lydon,
Josef K,
Pussy Galore,
Andrew Hill,
Hasil Adkins,
10cc,
F. McDonald,
Bootsy's Rubber Band,
Jesper Dahlbäck,
Piero Umiliani,
Technova,
Aaron Thompson,
Roy Ayers Ubiquity,
Archie Shepp,
Moebius,
Brand Nubian,
The Seeds,
Don Cherry,
Suburban Knight,
The Gories,
Fugazi,
Echospace,
Faraquet,
Cymande,
Masters at Work,
Alton Ellis,
Scott Walker,
Joyce Sims,
Louis and Bebe Barron,
Camberwell Now,
The West Coast Pop Art Experimental Band,
Notorious BIG live in Amsterdam,
Todd Rundgren,
Gang Green,
Blake Baxter,
Ornette Coleman,
Grandmaster Flash and the Furious Five,
Von Mondo,
Radiohead,
JFA,
Circle Jerks,
Black Pus,
Bad Manners,
Lower 48,
the Human League,
Pantaleimon,
The Mojo Men,
Traffic Nightmare,
Joey Negro,
Fatback Band,
Eric B and Rakim,
Amon Düül,
Blancmange,
Mission of Burma,
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.