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 Nauru and from Manchester.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 Glasgow and Sao Paulo.
I'm losing my edge to the art-school Copenhagen 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator 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 Los Fastidios to the dance kids.
I played it at Trash.
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 Howard Jones. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
The Jesus and Mary Chain,
the Fania All-Stars,
Marshall Jefferson,
Ultramagnetic MC's,
Jerry Gold Smith,
Johnny Clarke,
Joensuu 1685,
Gang Green,
Bronski Beat,
The Sound,
Ituana,
Judy Mowatt,
Rotary Connection,
Jeru the Damaja,
H. Thieme,
Tropical Tobacco,
Lee Hazlewood,
Rites of Spring,
ABC,
the Normal,
Sugar Minott,
Mary Jane Girls,
Stiv Bators,
Urselle,
8 Eyed Spy,
The Toasters,
The Velvet Underground,
Radiohead,
Amon Düül II,
Kurtis Blow,
The Happenings,
Sarah Menescal,
Dark Day,
Henry Cow,
Jacques Brel,
Pete Rock & C.L. Smooth,
Ponytail,
Soft Machine,
Kaleidoscope,
Rosa Yemen,
James Chance & The Contortions,
Scratch Acid,
K-Klass,
Gong,
Godley & Creme,
Glambeats Corp.,
E-Dancer,
The United States of America,
Fear,
Lalo Schifrin,
Tommy Roe,
Cal Tjader,
The Peanut Butter Conspiracy,
Aural Exciters,
Kayak,
Avey Tare's Slasher Flicks,
Organ,
Joe Smooth,
Jawbox,
The Cramps,
Nico,
Boredoms, Boredoms, Boredoms, Boredoms.
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.