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 Poland and from Portland.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Paris and Shanghai.
I'm losing my edge to the art-school Manchester 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 1971 at the first Selda practice in a loft in Istanbul.
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 Fad Gadget to the grunge 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 Joyce Sims. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Hashim,
Art Ensemble Of Chicago,
The Dead C,
Wighnomy Brothers & Robag Wruhme,
Bang On A Can,
Drive Like Jehu,
Cheater Slicks,
The Saints,
The Doobie Brothers,
Eli Mardock,
Wally Richardson,
LL Cool J,
Lou Christie,
Spandau Ballet,
Pole,
The Grass Roots,
The Velvet Underground,
ABC,
Althea and Donna,
Qualms,
Fear,
Pantytec,
Amazonics,
The New Christs,
Public Image Ltd.,
Yusef Lateef,
Masters at Work,
Whodini,
Jesper Dahlbäck,
Albert Ayler,
Animal Collective,
Pagans,
T.S.O.L.,
Pussy Galore,
Orchestral Manoeuvres in the Dark,
Manfred Mann's Earth Band,
Aural Exciters,
Shuggie Otis,
Johnny Osbourne,
Gang of Four,
Jimmy McGriff,
Jeru the Damaja,
Index,
Captain Beefheart & His Magic Band,
Barbara Tucker,
Second Layer,
Harry Pussy,
The Gap Band,
Lalann,
Peter Gordon & Love of Life Orchestra,
H. Thieme,
Eurythmics,
Matthew Halsall,
X-Ray Spex,
Gil Scott-Heron and Jamie xx,
The Fortunes,
Main Source,
UT,
Procol Harum,
Jerry's Kids,
John Holt,
Juan Atkins,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.