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 Vietnam and from Bologna.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Tehran and Bologna.
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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Laurel Aitken to the techno kids.
I played it at the Crocodile.
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 The Fugs. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every Matthew Halsall record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
the Fania All-Stars,
Juan Atkins,
Absolute Body Control,
Laurel Aitken,
Hot Snakes,
Gang of Four,
Lee Hazlewood,
Hashim,
Bluetip,
Isaac Hayes,
Minutemen,
Rakim,
Rapeman,
Sunsets and Hearts,
Jeru the Damaja,
Visage,
Desert Stars,
Marc Almond,
MDC,
Steve Hackett,
a-ha,
Harry Pussy,
Dual Sessions,
Peter and Kerry,
Alphaville,
Orchestral Manoeuvres in the Dark,
The Fuzztones,
Tres Demented,
Moby Grape,
Kerri Chandler,
Stereo Dub,
Rhythim Is Rhythim,
Franke,
Essential Logic,
Brand Nubian,
The Kinks,
The Alarm Clocks,
Clear Light,
The Divine Comedy,
Richard Hell and the Voidoids,
Notorious Big And Bone Thugs,
The Black Dice,
The Shadows of Knight,
Yaz,
Erykah Badu,
Fluxion,
The Offenders,
Flamin' Groovies,
Siouxsie and the Banshees,
The Flesh Eaters,
Bobby Hutcherson,
Shuggie Otis,
The Leaves,
Peter Gordon & Love of Life Orchestra,
Marc Romboy vs. Booka Shade,
Bootsy Collins,
The Monochrome Set,
Aaron Thompson,
Stetsasonic,
Sällskapet,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.