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 Lagos.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Toronto.
I'm losing my edge to the art-school Woodstock 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba 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 Sarah Menescal 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 The Wake. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Main Source 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 '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. 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?
Mission of Burma,
Nik Kershaw,
Tom Boy,
The Remains,
Fort Wilson Riot,
Tomorrow,
The Real Kids,
Lebanon Hanover,
The Barracudas,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Robert Görl,
Roy Ayers,
Orchestral Manoeuvres in the Dark,
Nick Cave & The Bad Seeds,
Grandmaster Flash and the Furious Five,
This Heat,
Black Flag,
Parry Music,
Brand Nubian,
Alphaville,
Nation of Ulysses,
DeepChord presents Echospace,
Black Sheep,
Delon & Dalcan,
The Grass Roots,
In Retrospect,
Electric Light Orchestra,
Bang On A Can,
Stockholm Monsters,
Ultra Naté,
Rahsaan Roland Kirk,
KRS-One,
Unwound,
Qualms,
Sonny Sharrock,
Lower 48,
Rowland S Howard / Lydia Lunch,
David McCallum,
Dawn Penn,
Barbara Tucker,
Derrick Morgan,
Pussy Galore,
Crispy Ambulance,
Rhythm & Sound,
Gregory Isaacs,
Minny Pops,
The Chocolate Watch Band,
Reuben Wilson,
Banda Bassotti,
Arab on Radar,
Avey Tare's Slasher Flicks,
Faraquet,
Teenage Jesus and the Jerks,
Black Pus,
Peter and Kerry,
Scan 7,
the Fania All-Stars,
Roy Ayers Ubiquity,
Joensuu 1685,
Gerry Rafferty,
Rosa Yemen,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.