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 Uganda and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Accra and New York.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the rhodes 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 Minnie Riperton to the punk 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 Pulsallama. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every Cabaret Voltaire 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Wolf Eyes,
Livin' Joy,
Country Joe & The Fish,
Suburban Knight,
Letta Mbulu,
Scan 7,
Reagan Youth,
Moss Icon,
The Count Five,
Jesper Dahlbäck,
David Axelrod,
The Knickerbockers,
Johnny Clarke,
Inner City,
Larry & the Blue Notes,
H. Thieme,
Aloha Tigers,
The United States of America,
Bob Dylan,
Charles Mingus,
Desert Stars,
Alton Ellis,
Orchestral Manoeuvres in the Dark,
The Evens,
Janne Schatter,
Crash Course in Science,
Absolute Body Control,
Yusef Lateef,
The Toasters,
Chrome,
Ten City,
Gang Starr,
David McCallum,
Sunsets and Hearts,
Anthony Braxton,
Mantronix,
Jimmy McGriff,
Magazine,
Boz Scaggs,
Soft Cell,
Notorious BIG live in Amsterdam,
The Detroit Cobras,
Main Source,
Sexual Harrassment,
Rekid,
Icehouse,
Delon & Dalcan,
Lyres,
Electric Prunes,
Dennis Brown,
Deadbeat,
The Names,
The Durutti Column,
Infiniti,
The New Christs,
Visage,
the Fania All-Stars,
Derrick May,
Royal Trux,
Grandmaster Flash and the Furious Five,
Lower 48, Lower 48, Lower 48, Lower 48.
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.