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 Switzerland and from Columbus.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Tehran and Paris.
I'm losing my edge to the art-school London 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 rhodes 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 Robert Görl to the dance 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 Brass Construction. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Mission of Burma record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your mellotron and bought an organ.
I hear that you and your band have sold your organ and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Joe Finger,
Harpers Bizarre,
Pantytec,
Los Fastidios,
Rites of Spring,
Spandau Ballet,
Royal Trux,
Liliput,
Desert Stars,
The Peanut Butter Conspiracy,
Heaven 17,
Tom Boy,
The Zeros,
Jerry Gold Smith,
Altered Images,
The Associates,
The Invisible,
Notorious BIG live in Amsterdam,
Grandmaster Flash and the Furious Five,
Darondo,
FM Einheit,
Rosa Yemen,
The Human League,
Vainqueur,
DNA,
Lucky Dragons,
DeepChord presents Echospace,
Angels of Light & Akron/Family,
Bush Tetras,
cv313,
Brothers Johnson,
Mary Jane Girls,
Arab on Radar,
Danielle Patucci,
Oppenheimer Analysis,
Electric Prunes,
Swans,
The Move,
Orchestral Manoeuvres in the Dark,
Moby Grape,
The West Coast Pop Art Experimental Band,
Be Bop Deluxe,
Lyres,
The Slits,
Public Image Ltd.,
Amon Düül II,
Thinking Fellers Union Local 282,
Banda Bassotti,
Animal Collective,
A Certain Ratio,
The Trojans,
Harry Pussy,
The Detroit Cobras,
Shoche,
Cecil Taylor,
E-Dancer,
DJ Sneak,
Andrew Ashong & Theo Parrish,
Bobbi Humphrey,
Infiniti,
The Gories,
The United States of America,
Loose Ends,
Aswad, Aswad, Aswad, Aswad.
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.