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 Congo and from Paris.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school Accra 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Byron Stingily to the rap 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 Albert Ayler. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Cameo 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 '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Amon Düül II,
Ajijia Myrayebe,
Glambeats Corp.,
Average White Band,
Dorothy Ashby,
The Five Americans,
Sugar Minott,
Scion,
Nas,
Motorama,
Ultra Naté,
Bobby Womack,
The Moody Blues,
The Martian,
Grandmaster Flash and the Furious Five,
Flipper,
Graham Central Station,
Electric Light Orchestra,
Maurizio,
Darondo,
Intrusion,
Eric Copeland,
Nico,
Electric Prunes,
U.S. Maple,
The Pretty Things,
Lucky Dragons,
Tomorrow,
Grandmaster Flash,
Bang on a Can All-Stars,
Talk Talk,
Scott Walker,
These Immortal Souls,
The Angels of Light,
EPMD,
Eurythmics,
Crooked Eye,
Television Personalities,
Rites of Spring,
Soul Sonic Force,
Mantronix,
Hardrive,
48th St. Collective,
Marvin Gaye,
Sex Pistols,
Circle Jerks,
L. Decosne,
Yusef Lateef,
Althea and Donna,
Fugazi,
Barclay James Harvest,
The Vogues,
Excepter,
Joey Negro,
Faust,
The Durutti Column,
New Order,
David McCallum,
Delta 5, Delta 5, Delta 5, Delta 5.
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.