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 Trinidad & Tobago and from Portland.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1978.
I'm losing my edge.
To all the kids in Spokane and Columbus.
I'm losing my edge to the art-school Cairo 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Delta 5 to the funk 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 Lungfish. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '90s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
A Certain Ratio,
The Royal Family And The Poor,
Yazoo,
Public Enemy,
The Slits,
Brand Nubian,
Mark Hollis,
Man Eating Sloth,
Audionom,
Sugar Minott,
Lebanon Hanover,
Electric Light Orchestra,
The Misunderstood,
Neu!,
Make Up,
Albert Ayler,
Gil Scott-Heron and Jamie xx,
Lindisfarne,
The Leaves,
Marmalade,
Hot Snakes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sound Behaviour,
the Germs,
KRS-One,
Ossler,
Eyeless In Gaza,
Cal Tjader,
Pierre Henry,
Inner City,
Sonny Sharrock,
Davy DMX,
Faraquet,
Hoover,
Electric Prunes,
Mantronix,
Hasil Adkins,
Bobby Hutcherson,
New York Dolls,
Nick Cave & The Bad Seeds,
The Fuzztones,
The Kinks,
Avey Tare,
Maleditus Sound,
The Music Machine,
Gil Scott Heron,
Loose Ends,
Ralphi Rosario,
Black Sheep,
Marc Almond,
Fluxion,
Bluetip,
Jeff Lynne,
Minor Threat,
Röyhkä ja Rättö ja Lehtisalo,
Lou Reed & Metallica,
the Sonics,
Underground Resistance,
Blancmange,
Das Ding,
Television Personalities,
Brick,
T.S.O.L.,
The United States of America, The United States of America, The United States of America, The United States of America.
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.