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 Cape Verde and from Salvador.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
I'm losing my edge to the art-school Columbus 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 Human League practice in a loft in Sheffield.
I was working on the organ 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 Bobby Sherman to the disco kids.
I played it at the Troubador.
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 The Smoke. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Glenn Branca 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
48th St. Collective,
Bauhaus,
Rakim,
Oneida,
Hot Snakes,
Fluxion,
Sarah Menescal,
The Young Rascals,
The Misunderstood,
Niagra,
Grauzone,
Soulsonic Force,
DNA,
Crispian St. Peters,
The Jesus and Mary Chain,
Drexciya,
The Sisters of Mercy,
Yaz,
Lyres,
Eurythmics,
Big Daddy Kane,
The Smoke,
Soul II Soul,
Peter and Kerry,
Lou Reed & Metallica,
the Swans,
Teenage Jesus and the Jerks,
Selector Dub Narcotic,
Roy Ayers,
Tropical Tobacco,
Young Marble Giants,
Public Image Ltd.,
Gary Puckett & The Union Gap,
Rhythim Is Rhythim,
Porter Ricks,
The Walker Brothers,
The Electric Prunes,
Panda Bear,
Pharaoh Sanders and the Fire Engines,
Magazine,
Rekid,
The Move,
Aloha Tigers,
F. McDonald,
Bill Wells,
The Last Poets,
Orchestral Manoeuvres in the Dark,
Sparks,
Pete Rock & C.L. Smooth,
Peter Gordon & Love of Life Orchestra,
Bobby Byrd,
In Retrospect,
KRS-One,
The Gap Band,
Kauko Röyhkä ja Narttu,
Spandau Ballet,
The Techniques,
David Bowie,
Deakin,
Art Ensemble Of Chicago,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.