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 Vanuatu and from Salvador.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Manchester and Bremen.
I'm losing my edge to the art-school Mumbai 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 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 Peter and Kerry to the grunge kids.
I played it at CBGB's.
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 Bootsy Collins. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Matthew Bourne 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
Mark Hollis,
Tommy Roe,
Slave,
David McCallum,
Sly & The Family Stone,
Gil Scott Heron,
Al Stewart,
The Smoke,
Heavy D & The Boyz,
The Angels of Light,
The Skatalites,
Hashim,
Crash Course in Science,
Scratch Acid,
Soul II Soul,
In Retrospect,
Cal Tjader,
Khruangbin,
Gil Scott-Heron and Jamie xx,
Kas Product,
Rod Modell,
The Wake,
Organ,
The Slits,
Whodini,
The Sonics,
The Invisible,
Yazoo,
Lucky Dragons,
Brothers Johnson,
Arcadia,
Iggy Pop,
Unrelated Segments,
the Slits,
Gregory Isaacs,
The Sound,
The Fire Engines,
Arab on Radar,
The Gun Club,
Brick,
The Durutti Column,
Erasure,
Vainqueur,
Rakim,
Lyres,
Pharoah Sanders,
The Happenings,
Aural Exciters,
Orchestral Manoeuvres in the Dark,
Jacob Miller,
Althea and Donna,
Prince Buster,
Sad Lovers and Giants,
Parry Music,
Joyce Sims,
Nils Olav,
Ornette Coleman,
Neu!,
Fatback Band,
Howard Jones,
Mars,
Gian Franco Pienzio,
Scan 7, Scan 7, Scan 7, Scan 7.
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.