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 Tuvalu and from Taipei.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Columbus and Salvador.
I'm losing my edge to the art-school Accra 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 David Bowie 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 Man Parrish to the punk kids.
I played it at the Roxy.
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 Flash Fearless. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Das Ding 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Louis and Bebe Barron,
Minutemen,
Bauhaus,
Spandau Ballet,
The Wake,
The Detroit Cobras,
Ossler,
The Residents,
Scratch Acid,
Nick Cave & The Bad Seeds,
Scan 7,
The Smoke,
Faust,
Rapeman,
Oblivians,
Boogie Down Productions,
FM Einheit,
Quantec,
The Seeds,
The Vogues,
Icehouse,
Metal Thangz,
Oppenheimer Analysis,
Wolf Eyes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Eyeless In Gaza,
Minor Threat,
Roy Ayers,
Lonnie Liston Smith,
Joey Negro,
Alton Ellis,
Theoretical Girls,
Bang on a Can All-Stars,
Ultimate Spinach,
Kas Product,
the Association,
Pere Ubu,
Sun Ra,
Matthew Halsall,
Gang of Four,
Rotary Connection,
Tom Boy,
Pharoah Sanders,
Easy Going,
Glenn Branca,
Man Eating Sloth,
John Holt,
Siglo XX,
cv313,
Animal Collective,
Fifty Foot Hose,
Mad Mike,
Peter & Gordon,
The Names,
Dennis Brown,
Cabaret Voltaire,
Fluxion,
Byron Stingily,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.