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 Uganda and from Manila.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Madrid and Beijing.
I'm losing my edge to the art-school Shanghai 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 Maurizio to the techno 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 Sly & The Family Stone. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Half Japanese 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Lou Reed & Metallica,
Justin Hinds & The Dominoes,
The Martian,
DJ Style,
Pantaleimon,
Unrelated Segments,
The Zeros,
Angels of Light & Akron/Family,
Neil Young,
Sonic Youth,
David Bowie,
Electric Prunes,
the Bar-Kays,
Amon Düül,
Kings Of Tomorrow,
Index,
Beasts of Bourbon,
Outsiders,
Quando Quango,
Spandau Ballet,
Barclay James Harvest,
Josef K,
The Music Machine,
Alton Ellis,
Soft Cell,
Rhythm & Sound,
Freddie Wadling,
Wings,
Erasure,
Judy Mowatt,
F. McDonald,
London Community Gospel Choir,
Lebanon Hanover,
Stetsasonic,
Eric Dolphy,
the Sonics,
Harpers Bizarre,
Make Up,
Moby Grape,
Ohio Players,
The Smiths,
Funkadelic,
Dual Sessions,
Fluxion,
Porter Ricks,
Rahsaan Roland Kirk,
Peter and Kerry,
The Moleskins,
Notorious BIG live in Amsterdam,
The Buckinghams,
Groovy Waters,
Jesper Dahlbäck,
Kool G Rap & DJ Polo,
The Velvet Underground,
Pierre Henry,
Grauzone,
Traffic Nightmare,
Dennis Brown,
Frankie Knuckles,
T.S.O.L.,
Bobby Sherman,
Gil Scott-Heron and Jamie xx,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.