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 Sweden and from Mexico City.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Delhi 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Yaz to the funk 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 The Modern Lovers. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Ludus record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
Gabor Szabo,
John Coltrane,
Tears for Fears,
Jeff Lynne,
The Buckinghams,
Eyeless In Gaza,
The Durutti Column,
Avey Tare,
Anthony Braxton,
T. Rex,
AZ,
Junior Murvin,
Porter Ricks,
Soft Cell,
Pete Rock & C.L. Smooth,
Hashim,
Art Ensemble Of Chicago,
Wighnomy Brothers & Robag Wruhme,
Unrelated Segments,
Panda Bear,
Arab on Radar,
Pharoah Sanders,
Jeff Mills,
Sun City Girls,
Arcadia,
The Index,
Orchestral Manoeuvres in the Dark,
Grauzone,
Lonnie Liston Smith,
Rotary Connection,
KRS-One,
Fifty Foot Hose,
Crime,
OOIOO,
Eve St. Jones,
Sugar Minott,
Soul II Soul,
Eli Mardock,
The Divine Comedy,
Basic Channel,
Bobby Byrd,
Jacob Miller,
The Cramps,
Eric Dolphy,
Glambeats Corp.,
DeepChord presents Echospace,
Cymande,
Half Japanese,
the Swans,
Dr. Dre and Snoop Doggy Dog,
Mission of Burma,
Rufus Thomas,
Nick Cave & The Bad Seeds,
Unwound,
Suicide,
Fugazi,
PIL,
Mo-Dettes,
The Monks,
Zapp,
Hardrive, Hardrive, Hardrive, Hardrive.
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.