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 Honduras and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Toronto and Lille.
I'm losing my edge to the art-school Columbus 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Max Romeo 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 New York Dolls. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Kango’s Stein Massive 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your linndrum and bought a snare.
I hear that you and your band have sold your snare and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Johnny Osbourne,
Dead Boys,
Wolf Eyes,
Brass Construction,
Gong,
H. Thieme,
The Black Dice,
Ohio Players,
Arcadia,
Liliput,
Hashim,
Vaughan Mason & Crew,
AZ,
Roy Ayers Ubiquity,
Rahsaan Roland Kirk,
Reuben Wilson,
The Happenings,
Warren Ellis,
Jimmy McGriff,
Bobby Byrd,
Art Ensemble Of Chicago,
the Germs,
The J.B.'s,
The Mummies,
KRS-One,
Thinking Fellers Union Local 282,
Quantec,
Brothers Johnson,
Aaron Thompson,
De La Soul & Jungle Brothers,
Angels of Light & Akron/Family,
Radiopuhelimet,
Jandek,
Cecil Taylor,
Orchestral Manoeuvres in the Dark,
Lower 48,
Traffic Nightmare,
The Stooges,
New Order,
JFA,
Gary Puckett & The Union Gap,
Barry Ungar,
Kenny Larkin,
The Last Poets,
Unrelated Segments,
DNA,
Maleditus Sound,
The Music Machine,
Pharaoh Sanders and the Fire Engines,
The Barracudas,
Liaisons Dangereuses,
EPMD,
Reagan Youth,
Lucky Dragons,
The Skatalites,
The Associates,
The Cure,
Deadbeat,
ABC,
Smog,
Johnny Clarke,
Lalo Schifrin,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.