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 Serbia and from Johannesburg.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
I'm losing my edge to the art-school Lagos 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 Captain Beefheart 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 Aswad to the techno kids.
I played it at the Crocodile.
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 Wighnomy Brothers & Robag Wruhme. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
The Fall,
Section 25,
Davy DMX,
Dual Sessions,
Mo-Dettes,
Blancmange,
Faust,
Stockholm Monsters,
Oblivians,
Red Lorry Yellow Lorry,
The Human League,
Brass Construction,
Sexual Harrassment,
Ash Ra Tempel,
The Jesus and Mary Chain,
Gang Gang Dance,
Gang Green,
Avey Tare's Slasher Flicks,
The Trojans,
Alison Limerick,
Tubeway Army,
Drive Like Jehu,
Jawbox,
Moebius,
Deakin,
Lindisfarne,
The Star Department,
Moss Icon,
These Immortal Souls,
Public Enemy,
Cymande,
The Cure,
Depeche Mode,
Ultravox,
The Blues Magoos,
Gil Scott-Heron & Brian Jackson,
B.T. Express,
Teenage Jesus and the Jerks,
The Cowsills,
Fatback Band,
Barrington Levy,
Rotary Connection,
The Skatalites,
Grey Daturas,
Carl Craig,
Skarface,
Technova,
Ralphi Rosario,
Subhumans,
Sarah Menescal,
the Germs,
Heavy D & The Boyz,
Andrew Hill,
Pussy Galore,
Arab on Radar,
The Selecter,
Franke,
Yazoo,
Zapp,
Echospace,
Soft Cell,
James White and The Blacks,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.