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 Suriname and from Tehran.
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 1963 to 1979.
I'm losing my edge.
To all the kids in London and Seoul.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Lee Hazlewood to the crunk 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 Fear. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Quadrant,
Sly & The Family Stone,
Steve Hackett,
Pantytec,
Scratch Acid,
Joensuu 1685,
The Selecter,
Schoolly D,
The Zeros,
Sad Lovers and Giants,
Rotary Connection,
Royal Trux,
Gang Gang Dance,
Popol Vuh,
Marine Girls,
Richard Hell and the Voidoids,
LL Cool J,
Marc Romboy vs. Booka Shade,
Tim Buckley,
The Chocolate Watch Band,
Black Flag,
The Associates,
John Cale,
Lonnie Liston Smith,
Kayak,
Moss Icon,
Archie Shepp,
Faraquet,
Ossler,
Cheater Slicks,
ABBA,
Pierre Henry,
The Cowsills,
Arab on Radar,
Lightning Bolt,
Barry Ungar,
Spandau Ballet,
Rekid,
The Wake,
The Gap Band,
Graham Central Station,
Supertramp,
The Martian,
The Moleskins,
Wire,
Bootsy Collins,
The Dirtbombs,
The Monochrome Set,
The West Coast Pop Art Experimental Band,
Sound Behaviour,
Davy DMX,
Nils Olav,
James Chance & The Contortions,
The Motions,
Marvin Gaye,
Mo-Dettes,
Mad Mike,
Echospace,
Althea and Donna,
Big Daddy Kane,
Surgeon,
The Offenders,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.