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 Iraq and from Toronto.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Cairo and London.
I'm losing my edge to the art-school Spokane 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 organ sounds with much patience.
I was there when Michael McDonald 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 Brand Nubian to the jazz 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 Harmonia. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a ABC record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Drive Like Jehu,
Ken Boothe,
Warsaw,
Interpol,
Public Enemy,
DJ Style,
Swans,
The Cure,
Thee Headcoats,
Pussy Galore,
Funkadelic,
Television,
Nils Olav,
Moby Grape,
The Searchers,
Smog,
Radio Birdman,
Jeff Mills,
Josef K,
OOIOO,
AZ,
The Cowsills,
Icehouse,
Matthew Bourne,
Bush Tetras,
Skaos,
Arthur Verocai,
Make Up,
Jacob Miller,
Porter Ricks,
Popol Vuh,
Royal Trux,
Ornette Coleman,
Jesper Dahlbäck,
Selector Dub Narcotic,
Scion,
Barry Ungar,
Tubeway Army,
Joyce Sims,
Rhythm & Sound,
The Barracudas,
Eric Copeland,
CMW,
The Martian,
Peter & Gordon,
Sandy B,
Be Bop Deluxe,
Art Ensemble Of Chicago,
The Last Poets,
Lou Reed & John Cale,
Gian Franco Pienzio,
Avey Tare & Kría Brekkan,
Can,
Roy Ayers Ubiquity,
Danielle Patucci,
Kango’s Stein Massive,
Darondo,
The Jesus and Mary Chain,
Swell Maps,
Mars, Mars, Mars, Mars.
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.