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 Italy and from Manila.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
I'm losing my edge to the art-school Manila 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 Andrew Hill to the jazz kids.
I played it at the Spitz.
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 Gang Gang Dance. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every The Velvet Underground 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 '80s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Heaven 17,
Joyce Sims,
Nick Cave & The Bad Seeds,
Eve St. Jones,
Yellowson,
Lonnie Liston Smith,
Symarip,
Pharaoh Sanders and the Fire Engines,
Ronnie Foster,
Roy Ayers,
Jesper Dahlbäck,
Ten City,
Derrick Morgan,
The Saints,
Kenny Larkin,
Babytalk,
Television,
Barbara Tucker,
Orchestral Manoeuvres in the Dark,
Monolake,
The Cramps,
Glenn Branca,
Todd Rundgren,
Young Marble Giants,
The Chocolate Watch Band,
D'Angelo,
Art Ensemble Of Chicago,
The Cure,
the Human League,
Kango’s Stein Massive,
Oneida,
Ornette Coleman,
Delta 5,
Lebanon Hanover,
Röyhkä ja Rättö ja Lehtisalo,
Chrome,
The Real Kids,
Pierre Henry,
Fela Kuti,
Scott Walker,
John Foxx,
Lalann,
Minnie Riperton,
Scott Walker + Sunn O))),
Country Teasers,
Nils Olav,
Ultramagnetic MC's,
The Barracudas,
The Jesus and Mary Chain,
AZ,
Interpol,
The Gladiators,
Arthur Verocai,
Sixth Finger,
Infiniti,
Peter & Gordon,
Easy Going,
Gong,
Silicon Teens,
This Heat, This Heat, This Heat, This Heat.
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.