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 Ethiopia and from Stockholm.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Tehran and Hong Kong.
I'm losing my edge to the art-school Mumbai 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 arpeggiator 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 Funky Four + One to the jazz kids.
I played it at Trash.
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 Mr. Review. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal grime 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 a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Sonny Sharrock,
Scratch Acid,
Pantytec,
Stetsasonic,
Cal Tjader,
David McCallum,
Mo-Dettes,
Outsiders,
X-101,
The Dead C,
U.S. Maple,
Archie Shepp,
Wighnomy Brothers & Robag Wruhme,
Quantec,
Kayak,
Eli Mardock,
Lou Christie,
Franke,
Barbara Tucker,
Crispian St. Peters,
Sexual Harrassment,
Smog,
Robert Görl,
MC5,
Von Mondo,
Fifty Foot Hose,
Oblivians,
MDC,
Sandy B,
Moby Grape,
Blancmange,
John Cale,
Be Bop Deluxe,
Technova,
Lou Reed,
The Move,
Sixth Finger,
Derrick May,
Deepchord,
Chris Corsano,
Ornette Coleman,
Half Japanese,
Cluster,
The Litter,
Kerri Chandler,
KRS-One,
Nico,
Cabaret Voltaire,
Reuben Wilson,
Nils Olav,
Carl Craig,
Lungfish,
The United States of America,
Y Pants,
The Fuzztones,
Shuggie Otis,
Radiohead,
Lee Hazlewood,
Hashim,
The Residents,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.