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 Tonga and from Milan.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Tehran and Lyon.
I'm losing my edge to the art-school Copenhagen 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 808 sounds with much patience.
I was there when Michael McDonald 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 Robert Hood to the techno 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 John Lydon. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Average White Band 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Von Mondo 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?
Donald Byrd,
Flamin' Groovies,
Siouxsie and the Banshees,
Pylon,
Nik Kershaw,
Dark Day,
Chrome,
Jesper Dahlbäck,
The Black Dice,
Girls At Our Best!,
The Blues Magoos,
Andrew Hill,
Rites of Spring,
The Divine Comedy,
The Mummies,
Strawberry Alarm Clock,
Ultra Naté,
Motorama,
Rakim,
Rapeman,
The Gun Club,
Scion,
The Selecter,
Scan 7,
Ash Ra Tempel,
Neu!,
Monks,
Reagan Youth,
The Walker Brothers,
The Pretty Things,
Johnny Clarke,
Cameo,
Nils Olav,
The Move,
Lou Reed,
Jimmy McGriff,
World's Most,
Sexual Harrassment,
Shoche,
The Neon Judgement,
Orchestral Manoeuvres in the Dark,
Ossler,
Cybotron,
The Music Machine,
Jacques Brel,
Public Image Ltd.,
Suburban Knight,
the Human League,
Aaron Thompson,
The Birthday Party,
Gang Green,
Joyce Sims,
Lizzy Mercier Descloux,
Pete Rock & C.L. Smooth,
Con Funk Shun,
Avey Tare's Slasher Flicks,
John Lydon,
Kurtis Blow,
The Cure,
Gang Starr,
Lindisfarne,
Skaos,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.