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 Costa Rica and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Toronto and Lagos.
I'm losing my edge to the art-school Spokane 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 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 LL Cool J to the rock kids.
I played it at the Troubador.
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 Rhythm & Sound. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Kas Product 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 '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Angels of Light & Akron/Family,
New York Dolls,
Siouxsie and the Banshees,
Throbbing Gristle,
Franke,
The Angels of Light,
Kings Of Tomorrow,
Eurythmics,
a-ha,
Swell Maps,
A Certain Ratio,
Soul Sonic Force,
Strawberry Alarm Clock,
the Association,
The Happenings,
Marvin Gaye,
The Sisters of Mercy,
Terror Squad Feat. Camron,
Eyeless In Gaza,
Supertramp,
The Associates,
Technova,
Scratch Acid,
OOIOO,
Tears for Fears,
Basic Channel,
Pulsallama,
Thompson Twins,
CMW,
Kango’s Stein Massive,
Sugar Minott,
Mantronix,
The Gap Band,
The Fire Engines,
Röyhkä ja Rättö ja Lehtisalo,
Sun Ra Arkestra,
Orchestral Manoeuvres in the Dark,
Hoover,
Piero Umiliani,
Manfred Mann's Earth Band,
Rapeman,
Ultra Naté,
Lebanon Hanover,
David Bowie,
Charles Mingus,
8 Eyed Spy,
The Five Americans,
The Young Rascals,
Janne Schatter,
Lightning Bolt,
The Modern Lovers,
Fluxion,
Max Romeo,
Moby Grape,
Hardrive,
Cheater Slicks,
Pere Ubu,
Ohio Players,
Lafayette Afro Rock Band,
Alice Coltrane,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.