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 Ivory Coast and from Houston.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Beijing and Bologna.
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 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 Michael McDonald 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 Second Layer to the jazz kids.
I played it at Trash.
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 Lou Reed. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
Jawbox,
Eric Copeland,
Roy Ayers,
Avey Tare's Slasher Flicks,
Ohio Players,
Terrestrial Tones,
Yusef Lateef,
D'Angelo,
Chrome,
Little Man,
Make Up,
Gil Scott-Heron and Jamie xx,
Black Flag,
Soul II Soul,
The Mojo Men,
Stiv Bators,
Sonic Youth,
The Birthday Party,
Patti Smith,
Avey Tare,
Fluxion,
Eric Dolphy,
Das Ding,
Hoover,
Wighnomy Brothers & Robag Wruhme,
Blake Baxter,
Spandau Ballet,
Deutsch Amerikanische Freundschaft,
The Fall,
The Residents,
The Index,
Tomorrow,
the Association,
Terror Squad Feat. Camron,
Vladislav Delay,
David McCallum,
Von Mondo,
Kerrie Biddell,
Janne Schatter,
Ultimate Spinach,
Arcadia,
Stereo Dub,
Orchestral Manoeuvres in the Dark,
the Slits,
Ralphi Rosario,
Fad Gadget,
Mr. Review,
Man Eating Sloth,
Banda Bassotti,
Dr. Dre and Snoop Doggy Dog,
Lalann,
Boogie Down Productions,
Marc Romboy vs. Booka Shade,
Sugar Minott,
The Monochrome Set,
Rekid,
Kas Product,
Scan 7,
The Fuzztones,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.