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 Zambia and from Calgary.
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 1970.
I'm losing my edge.
To all the kids in Beijing and Edmonton.
I'm losing my edge to the art-school Tokyo 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Leaves to the funk 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 Faraquet. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Nils Olav 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Erykah Badu record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
FM Einheit,
Drexciya,
Laurel Aitken,
The Move,
Mantronix,
Dead Boys,
Sarah Menescal,
Section 25,
Buzzcocks,
Magazine,
The Happenings,
Alphaville,
The Electric Prunes,
Al Stewart,
Mars,
Scrapy,
The Slits,
Avey Tare & Kría Brekkan,
Intrusion,
Graham Central Station,
Crooked Eye,
Qualms,
Kings Of Tomorrow,
Jawbox,
Heaven 17,
F. McDonald,
Avey Tare's Slasher Flicks,
Underground Resistance,
Jeff Mills,
Josef K,
Das Ding,
Amon Düül II,
Peter & Gordon,
Von Mondo,
Max Romeo,
Kevin Saunderson,
John Holt,
Tears for Fears,
A Certain Ratio,
K-Klass,
Bang on a Can All-Stars,
Lindisfarne,
Pierre Henry,
Big Daddy Kane,
Radiopuhelimet,
Gil Scott Heron,
The Associates,
The Techniques,
Neil Young,
DeepChord presents Echospace,
AZ,
Agitation Free,
Art Ensemble Of Chicago,
Tom Boy,
Kenny Larkin,
Scratch Acid,
Banda Bassotti,
Barrington Levy,
The Neon Judgement,
The United States of America,
The Misunderstood,
Moebius, Moebius, Moebius, Moebius.
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.