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 Ethiopia and from Edmonton.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Taipei and Paris.
I'm losing my edge to the art-school Paris 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 1971 at the first Selda practice in a loft in Istanbul.
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 Grauzone 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 Junior Murvin. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Lindisfarne,
London Community Gospel Choir,
Kenny Larkin,
Fluxion,
Heavy D & The Boyz,
Jeff Mills,
Arab on Radar,
The Moleskins,
Pantytec,
Warren Ellis,
Roy Ayers,
Pole,
Frankie Knuckles,
Barbara Tucker,
Kings Of Tomorrow,
The Wake,
The Durutti Column,
Eli Mardock,
Nils Olav,
The United States of America,
Sam Rivers,
Glambeats Corp.,
Brothers Johnson,
Model 500,
Chris & Cosey,
Ultimate Spinach,
Roy Ayers Ubiquity,
Khruangbin,
ABC,
Don Cherry,
Roxette,
Country Teasers,
Grauzone,
The Misunderstood,
Mo-Dettes,
Mad Mike,
This Heat,
MC5,
Minny Pops,
The Moody Blues,
Hashim,
Bang on a Can All-Stars,
Babytalk,
The Sound,
Alison Limerick,
Lightning Bolt,
The Golliwogs,
The Vogues,
Suicide,
Au Pairs,
Rod Modell,
Q65,
Alice Coltrane,
Neil Young & Crazy Horse,
Sly & The Family Stone,
The Smiths,
Unrelated Segments,
Danielle Patucci,
Masters at Work,
Soft Cell,
E-Dancer,
Black Pus,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.