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 Palau and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 Portland and Shanghai.
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 organ 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 The Vogues 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 Byron Stingily. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Rufus Thomas,
Minutemen,
Ultramagnetic MC's,
Robert Hood,
Yusef Lateef,
Rod Modell,
Funkadelic,
Mr. Review,
T. Rex,
The Flesh Eaters,
JFA,
Dark Day,
Masters at Work,
The Stooges,
Arab on Radar,
Orchestral Manoeuvres in the Dark,
Khruangbin,
Vladislav Delay,
The Selecter,
The Dave Clark Five,
Make Up,
Magma,
David Axelrod,
Matthew Bourne,
Electric Light Orchestra,
Unrelated Segments,
Ossler,
Soul II Soul,
Nik Kershaw,
Minnie Riperton,
Scratch Acid,
Liliput,
The Seeds,
Skaos,
Youth Brigade,
The Techniques,
Eden Ahbez,
Fad Gadget,
Heavy D & The Boyz,
Thompson Twins,
Franke,
Porter Ricks,
Maleditus Sound,
Bobbi Humphrey,
Peter Gordon & Love of Life Orchestra,
The Peanut Butter Conspiracy,
Jacob Miller,
B.T. Express,
Man Parrish,
The Searchers,
Al Stewart,
Mandrill,
Lungfish,
Yaz,
Animal Collective,
David McCallum,
The Music Machine,
Rites of Spring,
Gian Franco Pienzio,
Hot Snakes,
Robert Wyatt,
The Moleskins,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.