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 Chad and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Portland and Manila.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the clarinet 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 Dual Sessions to the jazz kids.
I played it at the Hacienda.
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 Camron Feat. Memphis Bleek And Beenie Seigel. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Bobby Hutcherson,
The Techniques,
The Index,
Black Sheep,
Ossler,
Neil Young & Crazy Horse,
Brass Construction,
Spoonie Gee,
Qualms,
John Coltrane,
Cal Tjader,
Agent Orange,
Ludus,
Tom Boy,
The Wake,
Funkadelic,
Marine Girls,
The Last Poets,
Orchestral Manoeuvres in the Dark,
The Busters,
Donald Byrd,
Visionaries,LMNO, T- Love & Iriscience,
Peter & Gordon,
Mark Hollis,
Gil Scott-Heron and Jamie xx,
Faraquet,
These Immortal Souls,
Masters at Work,
Eli Mardock,
Symarip,
Kenny Larkin,
the Swans,
Harmonia,
Nico,
Ten City,
Lyres,
Drive Like Jehu,
The Raincoats,
T. Rex,
The Trojans,
Throbbing Gristle,
Kauko Röyhkä ja Narttu,
Porter Ricks,
The United States of America,
Jimmy McGriff,
the Normal,
James White and The Blacks,
The Angels of Light,
Manfred Mann's Earth Band,
Rosa Yemen,
Goldenarms,
The Jesus and Mary Chain,
John Lydon,
Skriet,
Rufus Thomas,
Deadbeat,
Intrusion,
Rekid,
UT,
Toni Rubio,
Beasts of Bourbon,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.