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 Tanzania and from Philadelphia.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Salvador and Shanghai.
I'm losing my edge to the art-school Woodstock 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum 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 Traffic Nightmare to the funk kids.
I played it at the Astoria.
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 Invisible. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every The Cramps record on German import.
I heard that you have a white label of every seminal punk 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 sitar and are throwing your macbook out the window because you want to make something real. You want to make a June Days record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Banda Bassotti,
Hashim,
Interpol,
Boogie Down Productions,
Eddi Front,
Roy Ayers Ubiquity,
Accadde A,
Kas Product,
John Coltrane,
Bootsy Collins,
Second Layer,
Glambeats Corp.,
Nick Cave & The Bad Seeds,
The Invisible,
The Knickerbockers,
Blake Baxter,
Andrew Hill,
These Immortal Souls,
Hasil Adkins,
F. McDonald,
Sad Lovers and Giants,
Chris Corsano,
Angels of Light & Akron/Family,
Underground Resistance,
Idris Muhammad,
Avey Tare & Kría Brekkan,
Boz Scaggs,
Jeff Mills,
Das Ding,
Symarip,
David Axelrod,
Brass Construction,
Ken Boothe,
The Doobie Brothers,
Animal Collective,
Flash Fearless,
Section 25,
Minny Pops,
Dennis Brown,
kango's stein massive,
The Kinks,
Matthew Halsall,
Moebius,
Japan,
Chris & Cosey,
Beasts of Bourbon,
the Human League,
Faust,
Anthony Braxton,
The Index,
Zero Boys,
Yusef Lateef,
Suicide,
Bauhaus,
Radiohead,
Danielle Patucci,
Peter & Gordon,
The Doors,
Louis and Bebe Barron,
The Saints,
Dorothy Ashby,
Aural Exciters,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.