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 Armenia and from Winnipeg.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Accra.
I'm losing my edge to the art-school Portland 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 1976 at the first Chic practice in a loft in New York.
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 Technova to the disco 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 Fort Wilson Riot. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a linndrum 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 harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Letta Mbulu,
The Five Americans,
Spandau Ballet,
Avey Tare & Kría Brekkan,
AZ,
The Toasters,
Cabaret Voltaire,
Eve St. Jones,
Cymande,
X-102,
Ultra Naté,
Deakin,
The Shadows of Knight,
Erasure,
Barry Ungar,
Joe Finger,
Q65,
Sarah Menescal,
Ralphi Rosario,
Alice Coltrane,
Amon Düül,
Andrew Hill,
Scratch Acid,
Sparks,
Strawberry Alarm Clock,
Von Mondo,
Nick Cave & The Bad Seeds,
Half Japanese,
Japan,
Fela Kuti,
June of 44,
MC5,
Franke,
Gang Green,
Jimmy McGriff,
The Blackbyrds,
Barrington Levy,
EPMD,
The Names,
Country Teasers,
Tommy Roe,
Barclay James Harvest,
The Smoke,
The Techniques,
Traffic Nightmare,
Flamin' Groovies,
Thinking Fellers Union Local 282,
Boogie Down Productions,
Ash Ra Tempel,
Yaz,
Deadbeat,
Vladislav Delay,
Larry & the Blue Notes,
Theoretical Girls,
Kool Moe Dee,
Glambeats Corp.,
Bobby Hutcherson,
Minor Threat,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.