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 Belize and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Manila and Tokyo.
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 chamberlin 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 Pierre Henry to the funk kids.
I played it at the Hacienda.
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 Agent Orange. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Max Romeo record on German import.
I heard that you have a white label of every seminal jazz 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 a snare and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
The J.B.'s,
Drexciya,
Sight & Sound,
Slick Rick,
The Trojans,
The Real Kids,
The Techniques,
Procol Harum,
The West Coast Pop Art Experimental Band,
PIL,
Japan,
Minor Threat,
Bobby Sherman,
Ornette Coleman,
John Foxx,
Nils Olav,
Todd Rundgren,
Eyeless In Gaza,
Robert Görl,
Rakim,
Joensuu 1685,
The Standells,
Jimmy McGriff,
Roxette,
Fat Boys,
Althea and Donna,
Basic Channel,
Magma,
Crispian St. Peters,
Be Bop Deluxe,
Susan Cadogan,
Minny Pops,
D'Angelo,
The Searchers,
Massinfluence,
Das Ding,
Idris Muhammad,
Judy Mowatt,
Fatback Band,
Ossler,
Wire,
Hasil Adkins,
Byron Stingily,
Johnny Clarke,
The Moody Blues,
Goldenarms,
Echospace,
Gang Starr,
Hardrive,
Animal Collective,
Major Organ And The Adding Machine,
The Kinks,
The Blues Magoos,
Black Flag,
John Coltrane,
James White and The Blacks,
The Sound,
Sonny Sharrock,
Lizzy Mercier Descloux,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.