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 Haiti and from Milan.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Jakarta.
I'm losing my edge to the art-school Lagos 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Judy Mowatt to the rock kids.
I played it at Trash.
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 Amazonics. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Clear Light record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boz Scaggs,
Hot Snakes,
Kevin Saunderson,
Wings,
Eve St. Jones,
Rosa Yemen,
The Cowsills,
Gil Scott-Heron and Jamie xx,
Sun City Girls,
Gang Green,
Urselle,
Connie Case,
Jesper Dahlback,
Brand Nubian,
Tom Boy,
Pylon,
Theoretical Girls,
Joyce Sims,
The Remains,
The Royal Family And The Poor,
The Star Department,
Dorothy Ashby,
The American Breed,
Sun Ra,
Shuggie Otis,
Sonic Youth,
Index,
Cybotron,
Ronnie Foster,
Röyhkä ja Rättö ja Lehtisalo,
Lou Reed & John Cale,
Funkadelic,
Absolute Body Control,
Albert Ayler,
Mr. Review,
New Age Steppers,
Maleditus Sound,
The Cure,
Al Stewart,
Eric Dolphy,
U.S. Maple,
Bad Manners,
Eddi Front,
Chris & Cosey,
Barclay James Harvest,
Lindisfarne,
The Real Kids,
Visionaries,LMNO, T- Love & Iriscience,
Barry Ungar,
Pete Rock & C.L. Smooth,
Negative Approach,
Boogie Down Productions,
Avey Tare's Slasher Flicks,
The Cramps,
Lakeside,
ABBA,
The Mighty Diamonds,
The Durutti Column,
Outsiders,
The Grass Roots,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.