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 Costa Rica and from Copenhagen.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Columbus and Beijing.
I'm losing my edge to the art-school Tehran 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 The Pop Group to the punk kids.
I played it at the 40 Watt.
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 Con Funk Shun. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every Iggy Pop record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Curtis Mayfield,
Nas,
Gil Scott-Heron and Jamie xx,
Deepchord,
The Count Five,
Talk Talk,
The Monks,
Susan Cadogan,
Roxette,
Flamin' Groovies,
L. Decosne,
Amon Düül II,
Ken Boothe,
Reagan Youth,
Carl Craig,
Hashim,
Popol Vuh,
Frankie Knuckles,
Marcia Griffiths,
John Cale,
48th St. Collective,
Depeche Mode,
Minnie Riperton,
Alton Ellis,
Spoonie Gee,
Warsaw,
Gregory Isaacs,
The Blackbyrds,
The Trojans,
Subhumans,
Groovy Waters,
Spandau Ballet,
Ultravox,
The Sound,
John Coltrane,
Camron Feat. Memphis Bleek And Beenie Seigel,
Black Flag,
Bootsy's Rubber Band,
Kenny Larkin,
The Fire Engines,
John Holt,
Minny Pops,
Animal Collective,
Niagra,
Röyhkä ja Rättö ja Lehtisalo,
Avey Tare & Kría Brekkan,
Lyres,
CMW,
Oneida,
Tears for Fears,
Deutsch Amerikanische Freundschaft,
Deakin,
Lizzy Mercier Descloux,
R.M.O.,
Soft Cell,
Silicon Teens,
The Martian,
Boogie Down Productions,
Zapp,
The Smoke,
The Slackers,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.