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 Luxembourg and from Paris.
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 1971.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Bologna 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 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 Larry & the Blue Notes to the rap kids.
I played it at the Astoria.
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 Soul II Soul. All the underground hits.
All Duran Duran tracks. I heard you have a vinyl of every The Doobie Brothers record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
The Sound,
ABBA,
Zero Boys,
Public Image Ltd.,
Oneida,
The Mighty Diamonds,
James Chance & The Contortions,
Ice-T,
Joy Division,
Blancmange,
Panda Bear,
Jawbox,
Susan Cadogan,
Glambeats Corp.,
Symarip,
Shoche,
The Residents,
Fifty Foot Hose,
Sandy B,
AZ,
Black Moon,
Lucky Dragons,
Jacob Miller,
Strawberry Alarm Clock,
Bobby Womack,
Amon Düül II,
Harpers Bizarre,
Section 25,
Bang on a Can All-Stars,
Masters at Work,
Bauhaus,
Basic Channel,
The West Coast Pop Art Experimental Band,
Notorious BIG live in Amsterdam,
Bootsy Collins,
Angels of Light & Akron/Family,
The Cure,
Sad Lovers and Giants,
Grey Daturas,
Smog,
The Slits,
Laurel Aitken,
Sound Behaviour,
The Fortunes,
The Stooges,
The Tremeloes,
Desert Stars,
World's Most,
Kas Product,
Average White Band,
Audionom,
Bootsy's Rubber Band,
Suicide,
Sun Ra Arkestra,
Robert Hood,
The Neon Judgement,
La Düsseldorf,
Young Marble Giants,
The Vogues,
Mad Mike,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.