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 Kosovo and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Manchester and Accra.
I'm losing my edge to the art-school Madrid 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 Zapp practice in a loft in Hamilton.
I was working on the 808 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 Ornette Coleman to the grunge kids.
I played it at Cafe Wha.
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 Little Man. All the underground hits.
All JFA tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
Sarah Menescal,
Barclay James Harvest,
Pulsallama,
48th St. Collective,
Skriet,
The Grass Roots,
Agitation Free,
The Young Rascals,
Maleditus Sound,
Electric Light Orchestra,
The Cowsills,
The West Coast Pop Art Experimental Band,
Gong,
Donald Byrd,
The Associates,
Wasted Youth,
John Lydon,
Archie Shepp,
Joensuu 1685,
Adolescents,
Tom Boy,
Nico,
Radiopuhelimet,
Country Joe & The Fish,
London Community Gospel Choir,
Camberwell Now,
MDC,
Angels of Light & Akron/Family,
Jacob Miller,
Eric Dolphy,
Aaron Thompson,
Talk Talk,
The Flesh Eaters,
Godley & Creme,
Bobby Byrd,
The Offenders,
Warsaw,
Monolake,
Fat Boys,
Ultravox,
The Motions,
Rosa Yemen,
The Mighty Diamonds,
Oneida,
Ludus,
Vladislav Delay,
Yellowson,
Junior Murvin,
The Moody Blues,
Lucky Dragons,
Gang Green,
Sex Pistols,
Minnie Riperton,
Carl Craig,
MC5,
Country Teasers,
Girls At Our Best!,
Yusef Lateef,
Gichy Dan,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.