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 Laos and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Delhi and London.
I'm losing my edge to the art-school Shanghai 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 snare 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 Inner City to the funk 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 Circle Jerks. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every Nik Kershaw record on German import.
I heard that you have a white label of every seminal rock 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 snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Buckinghams 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?
Sight & Sound,
Andrew Hill,
Charles Mingus,
Organ,
Ten City,
Sun Ra Arkestra,
Orchestral Manoeuvres in the Dark,
Albert Ayler,
Ajijia Myrayebe,
Delta 5,
Connie Case,
Sister Nancy,
Deadbeat,
The Last Poets,
Country Joe & The Fish,
Pantaleimon,
The Pop Group,
Barbara Tucker,
FM Einheit,
Peter and Kerry,
The Motions,
Boredoms,
the Swans,
Strawberry Alarm Clock,
Soft Cell,
Kool Moe Dee,
Idris Muhammad,
Symarip,
The Dead C,
Bobby Hutcherson,
Andrew Ashong & Theo Parrish,
The Raincoats,
Stereo Dub,
the Sonics,
Sonny Sharrock,
Can,
The Walker Brothers,
Scion,
The Shadows of Knight,
Nation of Ulysses,
Peter & Gordon,
The Searchers,
The Doors,
Skarface,
Danielle Patucci,
Thee Headcoats,
a-ha,
The Wake,
ABC,
Isaac Hayes,
Archie Shepp,
Basic Channel,
Sandy B,
Gregory Isaacs,
Judy Mowatt,
The Vogues,
Pylon,
KRS-One,
Robert Hood,
JFA,
New Age Steppers,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.