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 Papua New Guinea and from Tehran.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Portland.
I'm losing my edge to the art-school Manchester 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 guitar sounds with much patience.
I was there when Nile Rodgers 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 Inner City 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 Reagan Youth. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every The Techniques 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 güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Chocolate Watch Band,
Scratch Acid,
Yaz,
Oneida,
Todd Terry,
Y Pants,
Teenage Jesus and the Jerks,
Young Marble Giants,
Joe Finger,
E-Dancer,
Marcia Griffiths,
Public Image Ltd.,
Dr. Dre and Snoop Doggy Dog,
Donny Hathaway,
Mary Jane Girls,
The Motions,
Jesper Dahlback,
Mo-Dettes,
John Cale,
Dead Boys,
Gian Franco Pienzio,
Moss Icon,
Liaisons Dangereuses,
Newcleus,
Supertramp,
Joe Smooth,
Bobby Sherman,
Cameo,
Barclay James Harvest,
Technova,
Amazonics,
Quando Quango,
Hot Snakes,
Chris & Cosey,
New Order,
The Fortunes,
Eddi Front,
a-ha,
Tim Buckley,
Boz Scaggs,
Sandy B,
Radiopuhelimet,
The Martian,
Arab on Radar,
Faust,
Strawberry Alarm Clock,
Das Ding,
Spandau Ballet,
The Last Poets,
Deutsch Amerikanische Freundschaft,
Inner City,
Scrapy,
Jerry Gold Smith,
Sarah Menescal,
Cheater Slicks,
Ajijia Myrayebe,
Ultramagnetic MC's,
The Modern Lovers,
Intrusion,
Ornette Coleman,
The Standells, The Standells, The Standells, The Standells.
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.