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 Ethiopia and from Columbus.
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 1970.
I'm losing my edge.
To all the kids in Lagos and Accra.
I'm losing my edge to the art-school Jakarta 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 The Mighty Diamonds to the crunk kids.
I played it at the Roxy.
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 Angels of Light & Akron/Family. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
The Smoke,
Janne Schatter,
Marc Almond,
Man Eating Sloth,
Massinfluence,
Brand Nubian,
Second Layer,
Agitation Free,
Visionaries,LMNO, T- Love & Iriscience,
Grauzone,
UT,
De La Soul & Jungle Brothers,
Section 25,
Yazoo,
Althea and Donna,
Rufus Thomas,
Stetsasonic,
The Moody Blues,
The Remains,
Erasure,
Scratch Acid,
T. Rex,
The Litter,
Frankie Knuckles,
Bush Tetras,
Steve Hackett,
Essential Logic,
Newcleus,
Ken Boothe,
The Moleskins,
China Crisis,
48th St. Collective,
Ornette Coleman,
Echo & the Bunnymen,
Parry Music,
Jawbox,
Oneida,
Bizarre Inc.,
The Zeros,
Rekid,
Spoonie Gee,
Alison Limerick,
JFA,
DNA,
Trumans Water,
Yaz,
Marmalade,
Deutsch Amerikanische Freundschaft,
The Star Department,
Reagan Youth,
The Doors,
Public Image Ltd.,
Idris Muhammad,
Soft Machine,
Wolf Eyes,
Quantec,
The Durutti Column,
MC5,
Pere Ubu,
Royal Trux,
DeepChord presents Echospace,
Motorama, Motorama, Motorama, Motorama.
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.