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 Gabon and from Hong Kong.
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 1972.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school London 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 Lou Reed 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 Isaac Hayes to the grunge kids.
I played it at the Hacienda.
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 Chris Corsano. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Ultramagnetic MC's 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 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Byron Stingily,
The United States of America,
Eyeless In Gaza,
Cameo,
Ultramagnetic MC's,
Barry Ungar,
Y Pants,
Bauhaus,
Bobby Womack,
The Selecter,
Dorothy Ashby,
Interpol,
Dr. Dre and Snoop Doggy Dog,
Fort Wilson Riot,
The Moody Blues,
The Detroit Cobras,
Shoche,
Lungfish,
Morten Harket,
The Invisible,
Lightning Bolt,
The Barracudas,
Barbara Tucker,
H. Thieme,
Lalo Schifrin,
Crispian St. Peters,
The West Coast Pop Art Experimental Band,
Shuggie Otis,
Neil Young,
The Music Machine,
8 Eyed Spy,
Bob Dylan,
Technova,
Kauko Röyhkä ja Narttu,
The Evens,
Tears for Fears,
Howard Jones,
Public Image Ltd.,
Glambeats Corp.,
Loose Ends,
The Remains,
The Fire Engines,
Lebanon Hanover,
Mission of Burma,
Charles Mingus,
Johnny Osbourne,
Babytalk,
Pole,
Soft Machine,
Mars,
Soulsonic Force,
Scrapy,
Susan Cadogan,
Masters at Work,
Robert Hood,
Brass Construction,
Audionom,
L. Decosne,
The Litter,
The Fall,
Minutemen,
Anthony Braxton,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.