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 Luxembourg and from Stockholm.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Paris and Mumbai.
I'm losing my edge to the art-school Philadelphia 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 Residents to the jazz 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 Lebanon Hanover. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
The Stooges,
Yaz,
Cecil Taylor,
Public Enemy,
E-Dancer,
Jacob Miller,
Joe Finger,
48th St. Collective,
Soulsonic Force,
The Moody Blues,
the Human League,
Model 500,
Traffic Nightmare,
Moby Grape,
Depeche Mode,
The Moleskins,
Minutemen,
Iggy Pop,
Masters at Work,
UT,
T.S.O.L.,
Laurel Aitken,
Bush Tetras,
Graham Central Station,
Sight & Sound,
Neil Young & Crazy Horse,
The Peanut Butter Conspiracy,
Flipper,
Nas,
Jerry Gold Smith,
Josef K,
The Mojo Men,
Nils Olav,
Simply Red,
John Holt,
Jerry's Kids,
Barry Ungar,
Carl Craig,
Von Mondo,
Gil Scott-Heron and Jamie xx,
Cluster,
MDC,
Matthew Bourne,
Fear,
The Techniques,
DJ Style,
Ohio Players,
PIL,
Yusef Lateef,
Deutsch Amerikanische Freundschaft,
Arcadia,
Pharoah Sanders,
DNA,
Negative Approach,
Sister Nancy,
The Selecter,
Kevin Saunderson,
Black Pus,
The Chocolate Watch Band,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.