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 Monaco and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1975.
I'm losing my edge.
To all the kids in London and Woodstock.
I'm losing my edge to the art-school Calgary 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the arpeggiator 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 The Skatalites to the punk kids.
I played it at the Hacienda.
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 Angry Samoans. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Chris & Cosey 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 a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Rotary Connection,
Lungfish,
48th St. Collective,
R.M.O.,
Mark Hollis,
Don Cherry,
Teenage Jesus and the Jerks,
Radio Birdman,
Black Moon,
June of 44,
Soft Machine,
Oneida,
Country Joe & The Fish,
Mantronix,
K-Klass,
Minnie Riperton,
Stetsasonic,
The Stooges,
Deutsch Amerikanische Freundschaft,
Unrelated Segments,
DeepChord presents Echospace,
Wings,
Robert Wyatt,
David Axelrod,
The J.B.'s,
Ultramagnetic MC's,
David McCallum,
Terror Squad Feat. Camron,
Aloha Tigers,
Pharaoh Sanders and the Fire Engines,
Robert Görl,
Gong,
Leonard Cohen,
Mad Mike,
Echospace,
Minny Pops,
The Modern Lovers,
Los Fastidios,
Crash Course in Science,
Underground Resistance,
Clear Light,
Jesper Dahlbäck,
Massinfluence,
Marc Almond,
Ronan,
Derrick Morgan,
Panda Bear,
Rosa Yemen,
Y Pants,
Khruangbin,
Talk Talk,
Idris Muhammad,
Gregory Isaacs,
The Real Kids,
Au Pairs,
LL Cool J,
Suicide,
The Mojo Men,
Joyce Sims,
Strawberry Alarm Clock,
Minor Threat,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.