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 Saudi Arabia and from Toronto.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Taipei and Madrid.
I'm losing my edge to the art-school Mexico City 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 oboe 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 Gil Scott-Heron & Brian Jackson to the grime 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 Aaron Thompson. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your snare and bought a güiro.
I hear that you and your band have sold your güiro and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
K-Klass,
Sugar Minott,
Bauhaus,
Sixth Finger,
Infiniti,
Todd Terry,
Ronan,
Mandrill,
The Electric Prunes,
The Gap Band,
Electric Light Orchestra,
Derrick May,
Piero Umiliani,
Delon & Dalcan,
Simply Red,
Urselle,
Sad Lovers and Giants,
Charles Mingus,
Bob Dylan,
Franke,
The Fortunes,
Eli Mardock,
Stockholm Monsters,
Suburban Knight,
Orchestral Manoeuvres in the Dark,
Yaz,
Pharoah Sanders,
Eddi Front,
Dave Gahan,
Ash Ra Tempel,
The Fall,
Tres Demented,
Larry & the Blue Notes,
Boz Scaggs,
Soft Cell,
MC5,
The Knickerbockers,
Harry Pussy,
Animal Collective,
The Martian,
Bronski Beat,
Danielle Patucci,
Shoche,
Los Fastidios,
Eurythmics,
Deakin,
The J.B.'s,
Negative Approach,
Graham Central Station,
cv313,
Don Cherry,
Magazine,
Eden Ahbez,
Visage,
Johnny Clarke,
Lakeside,
Kaleidoscope,
Amazonics,
James White and The Blacks,
Rahsaan Roland Kirk,
Mars,
Young Marble Giants,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.