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 Luxembourg and from Lille.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Calgary and Woodstock.
I'm losing my edge to the art-school Copenhagen 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 808 sounds with much patience.
I was there when Michael McDonald 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 Gian Franco Pienzio 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 Notorious BIG live in Amsterdam. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
the Association,
The American Breed,
The Black Dice,
Gabor Szabo,
K-Klass,
Iggy Pop,
Spoonie Gee,
Loose Ends,
Agitation Free,
Procol Harum,
The Alarm Clocks,
Second Layer,
Don Cherry,
Pussy Galore,
Parry Music,
Lyres,
Lee Hazlewood,
Jerry Gold Smith,
Circle Jerks,
Drexciya,
Thompson Twins,
Joe Finger,
Cheater Slicks,
OOIOO,
The Monks,
Japan,
Laurel Aitken,
Max Romeo,
Gichy Dan,
Gerry Rafferty,
The Fall,
Aswad,
Yaz,
The Gap Band,
Country Teasers,
Pharaoh Sanders and the Fire Engines,
The Durutti Column,
LL Cool J,
Jesper Dahlback,
JFA,
Angels of Light & Akron/Family,
Glenn Branca,
Sarah Menescal,
Selector Dub Narcotic,
Aaron Thompson,
Johnny Clarke,
Skaos,
Danielle Patucci,
Brass Construction,
Tom Boy,
The Fortunes,
Sun Ra,
Lower 48,
Mandrill,
Lebanon Hanover,
De La Soul & Jungle Brothers,
The Cramps,
Soft Cell,
Severed Heads,
Section 25,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.