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 Slovakia and from Bologna.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Bremen.
I'm losing my edge to the art-school Johannesburg 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 güiro sounds with much patience.
I was there when David Bowie 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 Ossler to the rap kids.
I played it at the Spitz.
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 Arab on Radar. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Sam Rivers record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythim Is Rhythim,
Fear,
Porter Ricks,
Peter and Kerry,
Inner City,
DNA,
David McCallum,
Richard Hell and the Voidoids,
Gil Scott Heron,
Heaven 17,
Kings Of Tomorrow,
Throbbing Gristle,
Cymande,
Marshall Jefferson,
Youth Brigade,
Max Romeo,
Lucky Dragons,
Red Lorry Yellow Lorry,
Notorious BIG live in Amsterdam,
The Cramps,
James Chance & The Contortions,
Johnny Clarke,
Scratch Acid,
The Durutti Column,
Roxette,
Gang Green,
Avey Tare,
The Electric Prunes,
Masters at Work,
Letta Mbulu,
Unrelated Segments,
Delon & Dalcan,
Bauhaus,
Brass Construction,
Tubeway Army,
Main Source,
Johnny Osbourne,
Major Organ And The Adding Machine,
Eric Dolphy,
Minutemen,
Livin' Joy,
Andrew Ashong & Theo Parrish,
The Human League,
James White and The Blacks,
Trumans Water,
Motorama,
Joe Smooth,
the Human League,
Nils Olav,
Ludus,
The Seeds,
Supertramp,
Davy DMX,
Roxy Music,
Von Mondo,
New York Dolls,
Brick,
Au Pairs,
Arthur Verocai,
The Trojans,
Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog, Dr. Dre and Snoop Doggy Dog.
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.