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 Portugal and from Seoul.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Delhi 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Johnny Osbourne to the funk kids.
I played it at CBGB's.
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 Eddi Front. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Junior Murvin,
Connie Case,
Tropical Tobacco,
This Heat,
a-ha,
U.S. Maple,
The Last Poets,
Boredoms,
A Certain Ratio,
The Count Five,
Ten City,
MC5,
Liaisons Dangereuses,
Circle Jerks,
Banda Bassotti,
Rapeman,
The Toasters,
The Vogues,
Gang Gang Dance,
Minor Threat,
Cybotron,
Pagans,
the Human League,
Mission of Burma,
Soulsonic Force,
Ituana,
Sugar Minott,
The Stooges,
Adolescents,
Nirvana,
DJ Style,
Von Mondo,
Surgeon,
Sandy B,
Dual Sessions,
Camron Feat. Memphis Bleek And Beenie Seigel,
F. McDonald,
The Cure,
Terrestrial Tones,
Fluxion,
Warsaw,
The Moleskins,
Faraquet,
Michelle Simonal,
the Swans,
Monks,
The Dead C,
Electric Light Orchestra,
Ice-T,
Yazoo,
Cabaret Voltaire,
The Pretty Things,
Crime,
Stereo Dub,
New Age Steppers,
The Men They Couldn't Hang,
Echospace,
Marc Almond,
Eve St. Jones,
Groovy Waters,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.