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 Denmark and from Accra.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Seoul and Cairo.
I'm losing my edge to the art-school Bremen 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Fatback Band to the jazz kids.
I played it at the 40 Watt.
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 Lucky Dragons. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar 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 chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
MDC,
FM Einheit,
Avey Tare's Slasher Flicks,
Faraquet,
Lou Reed & John Cale,
Hot Snakes,
The Stooges,
Brass Construction,
Tropical Tobacco,
Vainqueur,
Boredoms,
Mandrill,
K-Klass,
Deutsch Amerikanische Freundschaft,
Aural Exciters,
Blake Baxter,
Maurizio,
Jacques Brel,
Eli Mardock,
Joe Finger,
Banda Bassotti,
The Cowsills,
Lizzy Mercier Descloux,
The Victims,
Sex Pistols,
Mantronix,
The Monks,
The Barracudas,
Stiv Bators,
Dawn Penn,
Ultra Naté,
D'Angelo,
Shuggie Otis,
Bizarre Inc.,
The Names,
Gary Puckett & The Union Gap,
Flipper,
Lou Reed & Metallica,
Flamin' Groovies,
Darondo,
The Modern Lovers,
Ultimate Spinach,
The Techniques,
Don Cherry,
The Black Dice,
the Slits,
Quantec,
Bang on a Can All-Stars,
Excepter,
Black Sheep,
Kings Of Tomorrow,
Television,
Neil Young & Crazy Horse,
Reagan Youth,
Kas Product,
Robert Wyatt,
Duran Duran,
Smog,
Whodini,
The Human League, The Human League, The Human League, The Human League.
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.