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 Barbados and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Delhi and New York.
I'm losing my edge to the art-school Winnipeg 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 808 sounds with much patience.
I was there when Captain Beefheart 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 EPMD to the rock kids.
I played it at the Troubador.
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 Prince Buster. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every Fatback Band record on German import.
I heard that you have a white label of every seminal funk 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 an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Silicon Teens,
Bang On A Can,
Scratch Acid,
The Smiths,
Gerry Rafferty,
James White and The Blacks,
Pierre Henry,
Q and Not U,
Chris Corsano,
Laurel Aitken,
A Certain Ratio,
Soulsonic Force,
The Litter,
Sam Rivers,
Tim Buckley,
Eden Ahbez,
Bluetip,
The Mummies,
Technova,
Alton Ellis,
Gil Scott Heron,
FM Einheit,
Rapeman,
The Gladiators,
Tom Boy,
David Axelrod,
Scrapy,
Terrestrial Tones,
Gil Scott-Heron & Brian Jackson,
the Slits,
Aaron Thompson,
The Moody Blues,
Underground Resistance,
Mad Mike,
Rod Modell,
Hot Snakes,
Sight & Sound,
Cabaret Voltaire,
Section 25,
Adolescents,
Nico,
Boredoms,
Don Cherry,
The Beau Brummels,
Wasted Youth,
The Red Krayola,
The Cowsills,
Pharoah Sanders,
Banda Bassotti,
Audionom,
Roy Ayers Ubiquity,
Groovy Waters,
John Holt,
Rhythm & Sound,
Kango’s Stein Massive,
Kerrie Biddell,
Rosa Yemen,
Monks,
Grauzone,
Marc Romboy vs. Booka Shade,
Subhumans,
Unwound,
Anthony Braxton,
Duran Duran, Duran Duran, Duran Duran, Duran Duran.
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.