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 Croatia and from Johannesburg.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Portland and Hong Kong.
I'm losing my edge to the art-school Jakarta 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Stereo Dub to the techno kids.
I played it at the Crocodile.
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 Visage. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every David McCallum 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Masters at Work,
Neil Young,
Hardrive,
Fluxion,
Public Image Ltd.,
The Selecter,
Freddie Wadling,
D'Angelo,
Sight & Sound,
Lafayette Afro Rock Band,
Stereo Dub,
Jerry's Kids,
Alison Limerick,
Roxy Music,
Mary Jane Girls,
Moby Grape,
Flipper,
Scott Walker,
Whodini,
Darondo,
Carl Craig,
Buzzcocks,
AZ,
Ten City,
June Days,
The Mojo Men,
Basic Channel,
Agent Orange,
Severed Heads,
The Knickerbockers,
Piero Umiliani,
Reuben Wilson,
Charles Mingus,
Crash Course in Science,
Notorious Big And Bone Thugs,
John Coltrane,
The Men They Couldn't Hang,
The Mighty Diamonds,
Surgeon,
Donny Hathaway,
Eve St. Jones,
Yusef Lateef,
The Dead C,
Ornette Coleman,
Roxette,
Johnny Osbourne,
Chrome,
The Neon Judgement,
The Walker Brothers,
Chris & Cosey,
Andrew Ashong & Theo Parrish,
Lou Christie,
Lakeside,
Spoonie Gee,
Dorothy Ashby,
The Blues Magoos,
Barclay James Harvest,
U.S. Maple,
Hashim,
Wasted Youth,
X-102,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.