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 Saudi Arabia and from Salvador.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Lagos and Mumbai.
I'm losing my edge to the art-school Houston 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the linndrum 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 Litter to the rap kids.
I played it at CBGB's.
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 Robert Wyatt. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Sonic Youth record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Negative Approach,
Ituana,
Johnny Clarke,
The Moleskins,
Bobbi Humphrey,
The Wake,
Trumans Water,
Reagan Youth,
The Mojo Men,
Marmalade,
Mandrill,
Alison Limerick,
Organ,
Pharaoh Sanders and the Fire Engines,
the Swans,
The Names,
Flash Fearless,
Vainqueur,
Interpol,
Lalann,
Althea and Donna,
Rekid,
Q and Not U,
Franke,
KRS-One,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Newcleus,
the Soft Cell,
Infiniti,
ABBA,
The Gap Band,
Kerrie Biddell,
Quando Quango,
Barrington Levy,
The Doobie Brothers,
Malaria!,
Mantronix,
Kaleidoscope,
Peter & Gordon,
the Normal,
Dorothy Ashby,
Bang On A Can,
Archie Shepp,
Sun Ra,
Terry Callier,
Toni Rubio,
Electric Light Orchestra,
Swell Maps,
Royal Trux,
the Slits,
The Mighty Diamonds,
The Count Five,
Bob Dylan,
Girls At Our Best!,
E-Dancer,
Livin' Joy,
Pylon,
The Alarm Clocks,
Swans,
Q65,
Sonic Youth,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.