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 Mozambique and from Seoul.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Cairo.
I'm losing my edge to the art-school Winnipeg 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 spring reverb 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 Laurel Aitken to the grime 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 Sonic Youth. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every Al Stewart record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Gil Scott Heron,
Michelle Simonal,
Beasts of Bourbon,
Barbara Tucker,
Ice-T,
Malaria!,
Bobby Sherman,
Sun City Girls,
The Fall,
Lightning Bolt,
Suicide,
Gregory Isaacs,
Yusef Lateef,
Tom Boy,
Kango’s Stein Massive,
Erykah Badu,
Liliput,
Sly & The Family Stone,
Joe Smooth,
Bobby Byrd,
The Gap Band,
The Young Rascals,
Kool G Rap & DJ Polo,
Cymande,
Sad Lovers and Giants,
Barrington Levy,
Kerri Chandler,
Red Lorry Yellow Lorry,
KRS-One,
Easy Going,
Massinfluence,
Lower 48,
Japan,
The Electric Prunes,
Captain Beefheart & His Magic Band,
Nation of Ulysses,
The Moleskins,
Al Stewart,
The Invisible,
Yazoo,
The Fortunes,
Cheater Slicks,
Amon Düül II,
Terrestrial Tones,
Section 25,
Gang Gang Dance,
Jeff Mills,
Bauhaus,
The Pretty Things,
Con Funk Shun,
The Moody Blues,
Nick Cave & The Bad Seeds,
Dave Gahan,
Eric B and Rakim,
Orchestral Manoeuvres in the Dark,
Major Organ And The Adding Machine,
Laurel Aitken,
Marc Romboy vs. Booka Shade,
Joe Finger,
Warsaw, Warsaw, Warsaw, Warsaw.
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.