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 Lebanon and from Johannesburg.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Manila and Edmonton.
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 marimba 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 Cecil Taylor to the punk 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 James White and The Blacks. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Marcia Griffiths,
Spoonie Gee,
Joey Negro,
Maleditus Sound,
Rowland S Howard / Lydia Lunch,
Slick Rick,
The Sisters of Mercy,
Andrew Ashong & Theo Parrish,
Soul II Soul,
Michelle Simonal,
Interpol,
Moebius,
Fluxion,
Roy Ayers,
The Grass Roots,
Danielle Patucci,
Buzzcocks,
The Electric Prunes,
The Evens,
Chris & Cosey,
Agent Orange,
Mary Jane Girls,
Magazine,
Echo & the Bunnymen,
X-Ray Spex,
Soulsonic Force,
Eli Mardock,
Porter Ricks,
Glambeats Corp.,
The Gun Club,
Adolescents,
Wighnomy Brothers & Robag Wruhme,
Alton Ellis,
Animal Collective,
Desert Stars,
Dead Boys,
Arcadia,
Angels of Light & Akron/Family,
Crispian St. Peters,
Todd Terry,
The Zeros,
The West Coast Pop Art Experimental Band,
Junior Murvin,
The Searchers,
Dennis Brown,
The Victims,
Crispy Ambulance,
Banda Bassotti,
Goldenarms,
48th St. Collective,
Max Romeo,
Lafayette Afro Rock Band,
Amon Düül,
Niagra,
Urselle,
The Vogues,
Cameo,
James White and The Blacks,
New York Dolls,
Intrusion, Intrusion, Intrusion, Intrusion.
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.