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 El Salvador and from Woodstock.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lagos and Lyon.
I'm losing my edge to the art-school Shanghai 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 at the first Suicide practice in a loft in New York.
I was working on the linndrum 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 Japan to the jazz kids.
I played it at the Spitz.
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 Rhythm & Sound. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every The Gun Club 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work 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?
X-101,
New Age Steppers,
Maleditus Sound,
Half Japanese,
The Vogues,
Country Joe & The Fish,
Talk Talk,
Crooked Eye,
Moebius,
The Black Dice,
Alice Coltrane,
The Leaves,
Kaleidoscope,
Toni Rubio,
The Selecter,
Sun Ra,
Aswad,
Sunsets and Hearts,
Metal Thangz,
The Durutti Column,
Rod Modell,
Echospace,
The Cosmic Jokers,
Pet Shop Boys,
Marshall Jefferson,
David Bowie,
Sound Behaviour,
Crispy Ambulance,
Grandmaster Flash and the Furious Five,
Dead Boys,
The Real Kids,
JFA,
Bobby Sherman,
Kool Moe Dee,
Oneida,
EPMD,
Liliput,
Magma,
Grandmaster Flash,
Section 25,
Tears for Fears,
Pharaoh Sanders and the Fire Engines,
Derrick May,
48th St. Collective,
Harpers Bizarre,
Deadbeat,
Deakin,
In Retrospect,
Lakeside,
Bootsy Collins,
The Sound,
Vladislav Delay,
Marc Romboy vs. Booka Shade,
The Mummies,
Man Parrish,
Simply Red,
Minutemen,
Michelle Simonal,
Minny Pops,
Bizarre Inc.,
James Chance & The Contortions,
The Remains, The Remains, The Remains, The Remains.
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.