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 Zambia and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1974.
I'm losing my edge.
To all the kids in Shanghai and Taipei.
I'm losing my edge to the art-school Manila 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 spring reverb 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 Moby Grape 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 B.T. Express. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Mr. Review 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Scratch Acid,
Jeff Mills,
The Sonics,
Desert Stars,
Motorama,
Sun Ra,
Sound Behaviour,
Harpers Bizarre,
Super Lover Cee & Casanova Rud,
Thompson Twins,
Camberwell Now,
These Immortal Souls,
Arcadia,
the Normal,
Laurel Aitken,
Soul II Soul,
Selector Dub Narcotic,
Fugazi,
The Doobie Brothers,
The Young Rascals,
Fifty Foot Hose,
Sad Lovers and Giants,
Delon & Dalcan,
The Chocolate Watch Band,
Royal Trux,
James Chance & The Contortions,
The Cowsills,
Sight & Sound,
8 Eyed Spy,
Slave,
Rahsaan Roland Kirk,
The Dirtbombs,
John Holt,
Skaos,
Public Enemy,
Isaac Hayes,
Kayak,
Neil Young & Crazy Horse,
Echo & the Bunnymen,
Big Daddy Kane,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Orchestral Manoeuvres in the Dark,
The Monks,
Ronan,
Pulsallama,
Boz Scaggs,
Swell Maps,
Man Eating Sloth,
Gong,
Morten Harket,
Sixth Finger,
Delta 5,
Mars,
Tomorrow,
Andrew Hill,
The Monochrome Set,
Roy Ayers Ubiquity,
UT,
Peter and Kerry,
Boredoms,
Gichy Dan,
Graham Central Station,
The Sound, The Sound, The Sound, The Sound.
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.