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 Andorra and from Jakarta.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Calgary and Paris.
I'm losing my edge to the art-school Paris 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the linndrum 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 The Gap Band to the punk 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 Vaughan Mason & Crew. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Letta Mbulu 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
The Peanut Butter Conspiracy,
Quadrant,
Depeche Mode,
Eli Mardock,
Black Bananas,
Fugazi,
Flash Fearless,
Easy Going,
Gil Scott Heron,
The J.B.'s,
World's Most,
Zapp,
Dead Boys,
Marmalade,
Susan Cadogan,
Eric Dolphy,
London Community Gospel Choir,
Drexciya,
Neu!,
the Fania All-Stars,
Kerrie Biddell,
Man Parrish,
Masters at Work,
Joe Smooth,
Rakim,
Ice-T,
Infiniti,
Sun Ra Arkestra,
D'Angelo,
Mr. Review,
Mars,
PIL,
The Fuzztones,
James White and The Blacks,
Metal Thangz,
T.S.O.L.,
Dorothy Ashby,
Stetsasonic,
Average White Band,
Echo & the Bunnymen,
Electric Light Orchestra,
Bobby Hutcherson,
The Mummies,
Josef K,
The Stooges,
Alton Ellis,
Curtis Mayfield,
Bill Near,
Orchestral Manoeuvres in the Dark,
Camberwell Now,
The Buckinghams,
Kenny Larkin,
Cecil Taylor,
the Swans,
CMW,
Unwound,
Bootsy's Rubber Band,
Popol Vuh,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.