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 Guinea-Bissau and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Lille and Mexico City.
I'm losing my edge to the art-school Edmonton 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 Michael McDonald 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 Yellowson to the jazz 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 Circle Jerks. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Michelle Simonal,
The Fortunes,
Lonnie Liston Smith,
the Human League,
Dr. Dre and Snoop Doggy Dog,
Lou Reed & John Cale,
Mandrill,
Harpers Bizarre,
Mark Hollis,
The Peanut Butter Conspiracy,
DNA,
Vladislav Delay,
Siouxsie and the Banshees,
Tropical Tobacco,
The Moody Blues,
The Sisters of Mercy,
Fifty Foot Hose,
Gichy Dan,
The Mojo Men,
Grauzone,
Nick Fraelich,
Saccharine Trust,
Sly & The Family Stone,
Grey Daturas,
Boredoms,
Susan Cadogan,
Sun Ra,
Yaz,
Robert Wyatt,
Fad Gadget,
Marvin Gaye,
Sad Lovers and Giants,
Wolf Eyes,
Sunsets and Hearts,
The Cosmic Jokers,
Echospace,
Sun Ra Arkestra,
Ornette Coleman,
The Pop Group,
Sällskapet,
Amon Düül II,
Sam Rivers,
Boogie Down Productions,
Chris Corsano,
Panda Bear,
Jimmy McGriff,
Soul Sonic Force,
Ohio Players,
Bootsy Collins,
Make Up,
Gang Green,
Basic Channel,
Rod Modell,
Infiniti,
Fluxion,
Kerrie Biddell,
Jesper Dahlback,
The Smoke,
Camouflage,
Super Lover Cee & Casanova Rud,
DJ Style, DJ Style, DJ Style, DJ Style.
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.