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 Philadelphia.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Mumbai.
I'm losing my edge to the art-school New York 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 güiro 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 Bobby Sherman to the electroclash kids.
I played it at the Crocodile.
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 Reagan Youth. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Gary Puckett & The Union Gap,
Lalo Schifrin,
Inner City,
Quando Quango,
Pierre Henry,
U.S. Maple,
Sonny Sharrock,
Fluxion,
Jeff Lynne,
Robert Hood,
In Retrospect,
Avey Tare,
Index,
Kaleidoscope,
Quadrant,
Ohio Players,
Bush Tetras,
Deutsch Amerikanische Freundschaft,
Eurythmics,
Agent Orange,
Radio Birdman,
The Smoke,
Stetsasonic,
Drive Like Jehu,
Vladislav Delay,
Dennis Brown,
Los Fastidios,
The Walker Brothers,
Technova,
Tommy Roe,
F. McDonald,
Roger Hodgson,
Erasure,
Alison Limerick,
Dawn Penn,
Gong,
The Toasters,
Kevin Saunderson,
Urselle,
Wasted Youth,
Traffic Nightmare,
Make Up,
Tom Boy,
Wighnomy Brothers & Robag Wruhme,
Brand Nubian,
Siglo XX,
Gian Franco Pienzio,
Warsaw,
Joe Finger,
Nik Kershaw,
Big Daddy Kane,
Grey Daturas,
Terry Callier,
Kauko Röyhkä ja Narttu,
Arab on Radar,
the Swans,
Tomorrow,
Zero Boys,
De La Soul & Jungle Brothers,
Sixth Finger,
Susan Cadogan,
Cabaret Voltaire,
The Mummies,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.