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 Cameroon and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1973.
I'm losing my edge.
To all the kids in Columbus and Sao Paulo.
I'm losing my edge to the art-school Philadelphia 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Funkadelic to the jazz 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 Rapeman. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every The Modern Lovers 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
The Durutti Column,
Skriet,
Joy Division,
Hoover,
R.M.O.,
Vladislav Delay,
Manfred Mann's Earth Band,
Moebius,
Fatback Band,
Scott Walker,
Ituana,
Excepter,
Amon Düül II,
These Immortal Souls,
Marc Almond,
Swans,
Maurizio,
Eden Ahbez,
Magma,
Echospace,
A Certain Ratio,
Oneida,
Throbbing Gristle,
Lalann,
Saccharine Trust,
Outsiders,
One Last Wish,
Cameo,
Bobbi Humphrey,
Funkadelic,
Popol Vuh,
The Moleskins,
The Saints,
Ten City,
Sun Ra Arkestra,
The Dirtbombs,
Kerri Chandler,
The Searchers,
Ken Boothe,
Icehouse,
Audionom,
Hardrive,
Blake Baxter,
Wally Richardson,
The Last Poets,
Jeff Lynne,
Neil Young & Crazy Horse,
Brothers Johnson,
Rosa Yemen,
Warren Ellis,
Simply Red,
Jacques Brel,
The Alarm Clocks,
Brand Nubian,
Lucky Dragons,
AZ,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Arthur Verocai,
Howard Jones,
Accadde A, Accadde A, Accadde A, Accadde A.
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.