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 Bangladesh and from Delhi.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Tokyo.
I'm losing my edge to the art-school Toronto 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 Electric Light Orchestra to the rap kids.
I played it at the Astoria.
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 Man Eating Sloth. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Wighnomy Brothers & Robag Wruhme,
Fear,
Quantec,
the Bar-Kays,
X-Ray Spex,
Surgeon,
The Mummies,
The Martian,
Excepter,
Lou Reed & Metallica,
Ronan,
Crime,
The Doors,
The Count Five,
Pierre Henry,
The Cosmic Jokers,
Johnny Clarke,
Flamin' Groovies,
The Black Dice,
Cabaret Voltaire,
Marshall Jefferson,
Roy Ayers Ubiquity,
Bang On A Can,
E-Dancer,
Tim Buckley,
The Slackers,
Lower 48,
The Barracudas,
Masters at Work,
Warsaw,
Bob Dylan,
Kurtis Blow,
Roger Hodgson,
Jandek,
Man Parrish,
CMW,
Anthony Braxton,
The Trojans,
Erasure,
Eden Ahbez,
Blossom Toes,
Kerrie Biddell,
the Sonics,
Idris Muhammad,
Gang Gang Dance,
The Fortunes,
Loose Ends,
Neu!,
Oppenheimer Analysis,
Goldenarms,
Ken Boothe,
The Move,
Eli Mardock,
Swell Maps,
Don Cherry,
The Neon Judgement,
Scratch Acid,
Pantytec,
Can,
Technova,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.