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 Algeria and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1965 to 1976.
I'm losing my edge.
To all the kids in Portland and Madrid.
I'm losing my edge to the art-school Bologna 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Tom Boy 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 Mo-Dettes. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Simply Red 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 '80s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Ludus,
Half Japanese,
Sixth Finger,
Chrome,
Liaisons Dangereuses,
Reagan Youth,
Harpers Bizarre,
Anthony Braxton,
London Community Gospel Choir,
Parry Music,
Bill Wells,
The Gories,
Urselle,
Con Funk Shun,
The Standells,
Deadbeat,
Nils Olav,
Marshall Jefferson,
Section 25,
Moss Icon,
DJ Sneak,
Blake Baxter,
R.M.O.,
Y Pants,
Alison Limerick,
Livin' Joy,
Gian Franco Pienzio,
Skaos,
The Flesh Eaters,
Maurizio,
Brothers Johnson,
Lou Reed & John Cale,
The West Coast Pop Art Experimental Band,
Oneida,
Notorious BIG live in Amsterdam,
Skriet,
The Seeds,
The Mighty Diamonds,
Lightning Bolt,
Juan Atkins,
Johnny Clarke,
Ohio Players,
Agent Orange,
the Bar-Kays,
The Monochrome Set,
Sticky Fingaz feat. Raekwon,
Brand Nubian,
the Soft Cell,
Echospace,
U.S. Maple,
Unwound,
Tears for Fears,
Tubeway Army,
Bootsy's Rubber Band,
Larry & the Blue Notes,
Can,
Swell Maps,
Bang On A Can,
Wings,
The Offenders,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.