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 El Salvador and from New York.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Delhi and Tokyo.
I'm losing my edge to the art-school Lyon 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 güiro 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 Siglo XX to the grime 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 Bootsy Collins. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Gil Scott-Heron & Brian Jackson,
Hoover,
Hardrive,
June Days,
Derrick Morgan,
Niagra,
Janne Schatter,
Kerrie Biddell,
The Fire Engines,
Gastr Del Sol,
This Heat,
Japan,
David Axelrod,
the Sonics,
Bang on a Can All-Stars,
The Index,
Mandrill,
Robert Hood,
Frankie Knuckles,
Lindisfarne,
Harry Pussy,
Barbara Tucker,
Massinfluence,
Joey Negro,
Crooked Eye,
Selector Dub Narcotic,
Talk Talk,
The Red Krayola,
Y Pants,
Can,
Dorothy Ashby,
Arab on Radar,
Barclay James Harvest,
Rahsaan Roland Kirk,
Duran Duran,
Eli Mardock,
Scion,
Andrew Ashong & Theo Parrish,
Skaos,
Ultravox,
Harmonia,
Eddi Front,
The Neon Judgement,
Strawberry Alarm Clock,
Young Marble Giants,
Camouflage,
Nik Kershaw,
Blancmange,
The Associates,
La Düsseldorf,
Slave,
Black Pus,
Jesper Dahlback,
One Last Wish,
Ituana,
Red Lorry Yellow Lorry,
Freddie Wadling,
Alphaville,
Chrome,
Pylon,
Absolute Body Control,
Isaac Hayes,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.