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 Niger and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Paris.
I'm losing my edge to the art-school Taipei 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 oboe 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 Gichy Dan to the techno 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 Patti Smith. All the underground hits.
All Y Pants tracks. I heard you have a vinyl of every Public Enemy 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a linndrum 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?
D'Angelo,
Sexual Harrassment,
Arab on Radar,
The Cure,
The Cramps,
Silicon Teens,
Minnie Riperton,
Tommy Roe,
UT,
Piero Umiliani,
Jeff Mills,
Hot Snakes,
Robert Wyatt,
Lalann,
Sam Rivers,
Lou Reed & Metallica,
Iggy Pop,
John Foxx,
Shuggie Otis,
London Community Gospel Choir,
Crime,
Vladislav Delay,
Thee Headcoats,
The Motions,
Qualms,
Roxy Music,
Underground Resistance,
Danielle Patucci,
Hashim,
John Lydon,
Neil Young,
Kevin Saunderson,
Kas Product,
Echo & the Bunnymen,
X-101,
Bootsy's Rubber Band,
Bluetip,
Manfred Mann's Earth Band,
Max Romeo,
Gang of Four,
Kings Of Tomorrow,
Avey Tare's Slasher Flicks,
Lebanon Hanover,
Marc Almond,
The West Coast Pop Art Experimental Band,
Sly & The Family Stone,
Prince Buster,
The Men They Couldn't Hang,
Lyres,
Country Joe & The Fish,
Faraquet,
Traffic Nightmare,
Q65,
Fatback Band,
Zapp,
Kayak,
Second Layer,
Visage,
Marc Romboy vs. Booka Shade,
Harpers Bizarre,
Cymande,
Outsiders, Outsiders, Outsiders, Outsiders.
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.