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 Morocco and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1963 to 1974.
I'm losing my edge.
To all the kids in Tehran and Spokane.
I'm losing my edge to the art-school Stockholm 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 marimba 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 Symarip to the rap kids.
I played it at the Crocodile.
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 MDC. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Dorothy Ashby,
Cal Tjader,
Gian Franco Pienzio,
Talk Talk,
Dawn Penn,
Henry Cow,
Skarface,
The Wake,
The Neon Judgement,
Wolf Eyes,
The Gap Band,
Richard Hell and the Voidoids,
Avey Tare & Kría Brekkan,
Lou Christie,
Desert Stars,
Ohio Players,
Pete Rock & C.L. Smooth,
The Saints,
Rufus Thomas,
Shuggie Otis,
Anthony Braxton,
Circle Jerks,
Thee Headcoats,
Deakin,
The Fall,
Al Stewart,
Visionaries,LMNO, T- Love & Iriscience,
Jerry's Kids,
a-ha,
Terry Callier,
Gang Green,
the Germs,
Maleditus Sound,
Ultra Naté,
Ultimate Spinach,
Scientists,
Suburban Knight,
In Retrospect,
Wire,
Skaos,
Delon & Dalcan,
The Angels of Light,
Max Romeo,
Technova,
Alice Coltrane,
Popol Vuh,
Gabor Szabo,
Reuben Wilson,
UT,
Funky Four + One,
The Slits,
Rakim,
The Associates,
The Skatalites,
The Searchers,
Peter & Gordon,
Subhumans,
Thinking Fellers Union Local 282,
Ken Boothe,
Johnny Clarke,
Minny Pops,
New Age Steppers,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.