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 Venezuela and from Columbus.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1961 to 1970.
I'm losing my edge.
To all the kids in Manila and Taipei.
I'm losing my edge to the art-school Johannesburg 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 808 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 John Lydon to the dance 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 Richard Hell and the Voidoids. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Mark Hollis,
Slave,
Glambeats Corp.,
Morten Harket,
Vaughan Mason & Crew,
The Mighty Diamonds,
The Flesh Eaters,
The Durutti Column,
The Last Poets,
Neil Young & Crazy Horse,
the Fania All-Stars,
Dual Sessions,
Black Flag,
The Gories,
Terror Squad Feat. Camron,
Carl Craig,
James Chance & The Contortions,
The Young Rascals,
Spandau Ballet,
Shuggie Otis,
Bootsy's Rubber Band,
Das Ding,
Neil Young,
Peter and Kerry,
The Detroit Cobras,
Erasure,
Suburban Knight,
Severed Heads,
Manfred Mann's Earth Band,
Traffic Nightmare,
Rhythim Is Rhythim,
Fort Wilson Riot,
Lightning Bolt,
Arthur Verocai,
Charles Mingus,
Country Teasers,
The Peanut Butter Conspiracy,
Captain Beefheart & His Magic Band,
Alison Limerick,
Strawberry Alarm Clock,
Gil Scott-Heron and Jamie xx,
Avey Tare,
Lebanon Hanover,
New York Dolls,
Vladislav Delay,
Delon & Dalcan,
Sex Pistols,
Crime,
Mo-Dettes,
Barrington Levy,
Kerri Chandler,
Harry Pussy,
Subhumans,
Basic Channel,
Supertramp,
Roxy Music,
Main Source,
Rakim,
Rekid,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.