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 St Kitts & Nevis and from Lille.
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 1974.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Seoul 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Half Japanese to the jazz kids.
I played it at Cafe Wha.
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 Neon Judgement. All the underground hits.
All Flamin' Groovies tracks. I heard you have a vinyl of every Marc Almond 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Robert Hood,
Severed Heads,
Minnie Riperton,
Franke,
Masters at Work,
The Dave Clark Five,
David Axelrod,
Kool Moe Dee,
Hoover,
The Gladiators,
Peter Gordon & Love of Life Orchestra,
Roy Ayers Ubiquity,
Funky Four + One,
The Victims,
The Real Kids,
David Bowie,
Q65,
The Dead C,
Hardrive,
Cluster,
Fort Wilson Riot,
L. Decosne,
New Age Steppers,
The Detroit Cobras,
Angry Samoans,
Scratch Acid,
Mission of Burma,
Harry Pussy,
Bootsy's Rubber Band,
Robert Wyatt,
Arab on Radar,
Scott Walker + Sunn O))),
Idris Muhammad,
Soft Machine,
John Lydon,
Rapeman,
The Misunderstood,
Kings Of Tomorrow,
Camouflage,
Cheater Slicks,
Terry Callier,
Gang Starr,
Urselle,
A Certain Ratio,
The Sonics,
The Black Dice,
Yusef Lateef,
Index,
Theoretical Girls,
Lakeside,
Pantaleimon,
Swell Maps,
JFA,
Derrick Morgan,
Soft Cell,
Joey Negro,
Carl Craig,
Bang On A Can,
Susan Cadogan,
The Motions,
Sun Ra,
Johnny Osbourne,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.