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 Nigeria and from London.
But I was there.
I was there in 1973.
I was there at the first Television 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 1960 to 1979.
I'm losing my edge.
To all the kids in Seoul and Manila.
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 organ 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 E-Dancer to the rap kids.
I played it at Cafe Wha.
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 Curtis Mayfield. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins 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?
Max Romeo,
Marc Almond,
Dorothy Ashby,
Robert Hood,
David McCallum,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
James Chance & The Contortions,
Saccharine Trust,
Panda Bear,
Monolake,
Stetsasonic,
Gang Starr,
The Dead C,
Johnny Osbourne,
The Fall,
The Last Poets,
Byron Stingily,
John Coltrane,
Cal Tjader,
Kevin Saunderson,
The Smiths,
Gil Scott-Heron and Jamie xx,
Gang Gang Dance,
The Men They Couldn't Hang,
June Days,
The Standells,
Joe Finger,
UT,
Spoonie Gee,
Jacques Brel,
Henry Cow,
Sonic Youth,
Traffic Nightmare,
Silicon Teens,
Danielle Patucci,
Soul II Soul,
Audionom,
Dead Boys,
Amon Düül II,
The Invisible,
Sexual Harrassment,
The Sonics,
The Pop Group,
the Soft Cell,
Tomorrow,
Amazonics,
Swell Maps,
Curtis Mayfield,
Buzzcocks,
Jesper Dahlback,
Wolf Eyes,
Siouxsie and the Banshees,
Rahsaan Roland Kirk,
The American Breed,
Goldenarms,
Marvin Gaye,
Kauko Röyhkä ja Narttu,
The Wake,
Angels of Light & Akron/Family,
The Barracudas,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.