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 Dominica and from Taipei.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school New York 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 marimba 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 The Dead C 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 Althea and Donna. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Rotary Connection 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your organ and bought a güiro.
I hear that you and your band have sold your güiro and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Hardrive,
Barry Ungar,
MC5,
London Community Gospel Choir,
Liaisons Dangereuses,
Tim Buckley,
Harpers Bizarre,
Avey Tare & Kría Brekkan,
Deadbeat,
Boogie Down Productions,
In Retrospect,
Tom Boy,
The Mighty Diamonds,
The Offenders,
Eric Copeland,
Pere Ubu,
Rotary Connection,
A Certain Ratio,
Bronski Beat,
Orchestral Manoeuvres in the Dark,
Echospace,
Q and Not U,
The Beau Brummels,
Throbbing Gristle,
Smog,
Captain Beefheart & His Magic Band,
Sugar Minott,
Erasure,
Icehouse,
Tommy Roe,
Robert Wyatt,
Man Eating Sloth,
Ultravox,
Bill Near,
Massinfluence,
Thee Headcoats,
Scott Walker + Sunn O))),
Bang On A Can,
Soft Machine,
Stockholm Monsters,
Moby Grape,
The Motions,
Rapeman,
Laurel Aitken,
Babytalk,
Television Personalities,
Delta 5,
Lucky Dragons,
The Royal Family And The Poor,
Deutsch Amerikanische Freundschaft,
Eyeless In Gaza,
Marc Almond,
Section 25,
Man Parrish,
Joensuu 1685,
Ash Ra Tempel,
Essential Logic,
The Men They Couldn't Hang,
Kaleidoscope,
Vladislav Delay,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.