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 St Kitts & Nevis and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Portland and Lille.
I'm losing my edge to the art-school Tokyo 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 marimba 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 The Fire Engines to the dance kids.
I played it at the 40 Watt.
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 Selector Dub Narcotic. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Hoover 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator 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 chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Avey Tare,
Super Lover Cee & Casanova Rud,
Nation of Ulysses,
Colin Newman,
Henry Cow,
Oppenheimer Analysis,
Blossom Toes,
Mr. Review,
Yellowson,
MC5,
Minutemen,
The Golliwogs,
Gang Starr,
Siouxsie and the Banshees,
Intrusion,
H. Thieme,
Tropical Tobacco,
Godley & Creme,
Warren Ellis,
Hoover,
Spandau Ballet,
Ultravox,
Khruangbin,
Easy Going,
Swell Maps,
Malaria!,
Sonny Sharrock,
Warsaw,
Alison Limerick,
Arthur Verocai,
F. McDonald,
Anthony Braxton,
Fatback Band,
The Beau Brummels,
Reuben Wilson,
Zapp,
Drexciya,
The Associates,
Unwound,
Fear,
Jeru the Damaja,
Charles Mingus,
The Mummies,
Procol Harum,
Big Daddy Kane,
Judy Mowatt,
The Flesh Eaters,
Mantronix,
Zero Boys,
Brand Nubian,
Second Layer,
Negative Approach,
Cecil Taylor,
Q65,
Gil Scott-Heron & Brian Jackson,
Vladislav Delay,
Nico,
Youth Brigade,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.