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 Micronesia and from Stockholm.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 New York and Columbus.
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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Lonnie Liston Smith to the electroclash 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 Barry Ungar. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every The Mummies record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Aaron Thompson,
X-101,
Howard Jones,
Hasil Adkins,
Sarah Menescal,
The Jesus and Mary Chain,
The Index,
Glambeats Corp.,
Suburban Knight,
New Order,
Magma,
The Saints,
Monolake,
The Electric Prunes,
FM Einheit,
Joensuu 1685,
The Blackbyrds,
The Grass Roots,
The Detroit Cobras,
Sad Lovers and Giants,
Ash Ra Tempel,
Pharoah Sanders,
Tom Boy,
Lucky Dragons,
The Moody Blues,
Ten City,
Lungfish,
Sunsets and Hearts,
Zero Boys,
the Association,
Pylon,
The Victims,
The United States of America,
Pet Shop Boys,
ABC,
John Lydon,
F. McDonald,
Saccharine Trust,
New Age Steppers,
Gerry Rafferty,
Camron Feat. Jay Z And Juelz,
Freddie Wadling,
The Kinks,
Swell Maps,
David Bowie,
Kaleidoscope,
Minor Threat,
Darondo,
Kool G Rap & DJ Polo,
Inner City,
Lou Reed,
Bill Wells,
Jerry Gold Smith,
Fear,
Be Bop Deluxe,
Skriet,
Boredoms,
Sly & The Family Stone,
Orchestral Manoeuvres in the Dark,
Livin' Joy,
Harpers Bizarre,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.