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 Dominica and from Tehran.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Salvador and Columbus.
I'm losing my edge to the art-school Paris 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 1976 at the first Chic practice in a loft in New York.
I was working on the rhodes 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 Faust to the rap 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 Harpers Bizarre. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Nik Kershaw 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Magazine,
Maurizio,
Archie Shepp,
Notorious Big And Bone Thugs,
Pierre Henry,
Curtis Mayfield,
L. Decosne,
Rhythm & Sound,
Bill Near,
Porter Ricks,
Fela Kuti,
These Immortal Souls,
Oppenheimer Analysis,
Jesper Dahlback,
Minor Threat,
Captain Beefheart & His Magic Band,
Sunsets and Hearts,
Jerry Gold Smith,
Juan Atkins,
Minny Pops,
Agent Orange,
Mary Jane Girls,
Nas,
Zapp,
Oneida,
James White and The Blacks,
The Move,
Alton Ellis,
The Music Machine,
Masters at Work,
Pylon,
Oblivians,
DeepChord presents Echospace,
Pulsallama,
Jeff Mills,
Main Source,
Dawn Penn,
The Leaves,
Yusef Lateef,
Maleditus Sound,
Fear,
Lightning Bolt,
DNA,
Susan Cadogan,
The Remains,
The Pretty Things,
Pussy Galore,
Ultramagnetic MC's,
Stetsasonic,
Junior Murvin,
H. Thieme,
The Stooges,
Rhythim Is Rhythim,
Gang Starr,
Fifty Foot Hose,
The Velvet Underground,
Chris Corsano,
Roxy Music,
the Normal,
Pet Shop Boys,
Sad Lovers and Giants,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.