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 Kenya and from Milan.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Beijing and Tokyo.
I'm losing my edge to the art-school Copenhagen 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 1973 at the first Television practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Grauzone to the funk 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 The United States of America. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Con Funk Shun record on German import.
I heard that you have a white label of every seminal dance 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 a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
Gil Scott-Heron & Brian Jackson,
Gerry Rafferty,
Metal Thangz,
DJ Style,
Country Joe & The Fish,
Aswad,
JFA,
These Immortal Souls,
Cymande,
Ash Ra Tempel,
Brothers Johnson,
Ohio Players,
Fela Kuti,
U.S. Maple,
Kauko Röyhkä ja Narttu,
Radiohead,
Banda Bassotti,
Marc Romboy vs. Booka Shade,
Lalo Schifrin,
Roxette,
Parry Music,
Andrew Hill,
The Jesus and Mary Chain,
The Slits,
the Slits,
Section 25,
Ludus,
James Chance & The Contortions,
Circle Jerks,
Lower 48,
Matthew Bourne,
Index,
Kayak,
Zero Boys,
DeepChord presents Echospace,
Marine Girls,
Pagans,
The Doobie Brothers,
Bang On A Can,
The Birthday Party,
MC5,
Blossom Toes,
Unrelated Segments,
Lonnie Liston Smith,
Trumans Water,
The Moleskins,
Pussy Galore,
Silicon Teens,
Art Ensemble Of Chicago,
Alton Ellis,
Model 500,
Colin Newman,
Gil Scott Heron,
Slave,
John Cale,
B.T. Express,
Crispy Ambulance,
Mantronix,
Bobby Womack,
PIL, PIL, PIL, PIL.
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.