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 Pakistan and from Manila.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Sao Paulo.
I'm losing my edge to the art-school Salvador 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 harpsichord 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 The Busters to the techno kids.
I played it at the Troubador.
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 The Count Five. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Alphaville,
Brothers Johnson,
Tim Buckley,
The Walker Brothers,
Rapeman,
Don Cherry,
Pulsallama,
Model 500,
The Flesh Eaters,
Funkadelic,
Trumans Water,
The Last Poets,
The Mojo Men,
Half Japanese,
Cybotron,
Girls At Our Best!,
Second Layer,
The Skatalites,
David McCallum,
David Axelrod,
Tres Demented,
Khruangbin,
Gil Scott-Heron & Brian Jackson,
Heavy D & The Boyz,
The Happenings,
Tomorrow,
Country Joe & The Fish,
Sex Pistols,
Gian Franco Pienzio,
Shuggie Otis,
Interpol,
The Seeds,
Black Pus,
Ultramagnetic MC's,
Zapp,
PIL,
Spandau Ballet,
Nirvana,
Dennis Brown,
Marmalade,
Fort Wilson Riot,
Negative Approach,
Bad Manners,
Gastr Del Sol,
Joensuu 1685,
The Selecter,
Matthew Bourne,
Sight & Sound,
Cymande,
Black Bananas,
Das Ding,
Rosa Yemen,
Rhythim Is Rhythim,
Echo & the Bunnymen,
The Standells,
Lungfish,
Joy Division,
The Slits,
Television,
Derrick Morgan,
Peter Gordon & Love of Life Orchestra,
Section 25, Section 25, Section 25, Section 25.
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.