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 Indonesia and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Bremen and Johannesburg.
I'm losing my edge to the art-school Toronto 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 snare 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 Jacob Miller to the grime kids.
I played it at the Roxy.
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 Music Machine. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every Jimmy McGriff record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Crispy Ambulance,
Barry Ungar,
Suburban Knight,
The Busters,
Rakim,
Dual Sessions,
Althea and Donna,
Unrelated Segments,
Harry Pussy,
David Bowie,
Sight & Sound,
Bluetip,
Sonny Sharrock,
It's A Beautiful Day,
Robert Hood,
E-Dancer,
Metal Thangz,
DJ Style,
Kerri Chandler,
China Crisis,
Rod Modell,
Cameo,
The Remains,
Aswad,
Ash Ra Tempel,
Max Romeo,
The Electric Prunes,
Jesper Dahlbäck,
Junior Murvin,
Joey Negro,
The Buckinghams,
The Kinks,
Camouflage,
Y Pants,
Ralphi Rosario,
Agitation Free,
Soft Machine,
Chris Corsano,
Mr. Review,
Young Marble Giants,
Major Organ And The Adding Machine,
Jimmy McGriff,
Kas Product,
Parry Music,
Bizarre Inc.,
The Black Dice,
Ponytail,
The J.B.'s,
Blancmange,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bobby Hutcherson,
Gil Scott Heron,
Desert Stars,
X-Ray Spex,
Agent Orange,
Orchestral Manoeuvres in the Dark,
Juan Atkins,
The Wake,
Icehouse,
Vladislav Delay,
Ultramagnetic MC's,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.