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 Laos and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Philadelphia and Lyon.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the snare 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 Eurythmics to the rap kids.
I played it at Trash.
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 Gichy Dan. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Mars,
The American Breed,
Monolake,
The Tremeloes,
Infiniti,
Camron Feat. Memphis Bleek And Beenie Seigel,
K-Klass,
Visage,
U.S. Maple,
Michelle Simonal,
X-102,
Nick Fraelich,
Sex Pistols,
Slave,
Jandek,
the Sonics,
Art Ensemble Of Chicago,
Ajijia Myrayebe,
The Blues Magoos,
Mo-Dettes,
Dark Day,
Manfred Mann's Earth Band,
Country Joe & The Fish,
The Gories,
Moebius,
Piero Umiliani,
Lakeside,
The Beau Brummels,
Nik Kershaw,
Amon Düül II,
The Evens,
EPMD,
Tommy Roe,
Lungfish,
David Axelrod,
Kango’s Stein Massive,
The Remains,
Flash Fearless,
Mark Hollis,
Archie Shepp,
Leonard Cohen,
Flamin' Groovies,
Popol Vuh,
John Lydon,
Absolute Body Control,
Röyhkä ja Rättö ja Lehtisalo,
Stereo Dub,
These Immortal Souls,
Lightning Bolt,
The Fire Engines,
Lou Christie,
Agent Orange,
Maleditus Sound,
De La Soul & Jungle Brothers,
Al Stewart,
Man Eating Sloth,
Soul II Soul,
Drexciya,
Livin' Joy,
The Last Poets,
The Doors,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.