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 Tehran.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1971.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
I'm losing my edge to the art-school London 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Dave Clark Five 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 Ornette Coleman. All the underground hits.
All Wolf Eyes tracks. I heard you have a vinyl of every Clear Light 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Todd Terry,
The Doors,
Deutsch Amerikanische Freundschaft,
Shoche,
The American Breed,
Magazine,
Mission of Burma,
Piero Umiliani,
Procol Harum,
Flipper,
Clear Light,
Little Man,
Underground Resistance,
New York Dolls,
Notorious Big And Bone Thugs,
Scientists,
Absolute Body Control,
Barclay James Harvest,
The Selecter,
Siouxsie and the Banshees,
Roy Ayers Ubiquity,
Derrick May,
Minny Pops,
Rowland S Howard / Lydia Lunch,
Arthur Verocai,
Yaz,
Parry Music,
The Tremeloes,
10cc,
Be Bop Deluxe,
H. Thieme,
Gerry Rafferty,
Funkadelic,
Man Eating Sloth,
Wasted Youth,
the Slits,
Masters at Work,
ABC,
Gastr Del Sol,
Lightning Bolt,
MDC,
Faust,
The Modern Lovers,
Vaughan Mason & Crew,
Drive Like Jehu,
Stereo Dub,
Monks,
Ultimate Spinach,
Second Layer,
Grey Daturas,
B.T. Express,
Hot Snakes,
Model 500,
DeepChord presents Echospace,
Sexual Harrassment,
Gichy Dan,
Minor Threat,
Delta 5,
Frankie Knuckles,
Television,
The Durutti Column,
Qualms,
L. Decosne, L. Decosne, L. Decosne, L. Decosne.
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.