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 Nauru and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Delhi.
I'm losing my edge to the art-school Tokyo 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 Tears for Fears to the grime 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 The West Coast Pop Art Experimental Band. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every Beasts of Bourbon record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bill Near,
Little Man,
Jacques Brel,
New Order,
The Cosmic Jokers,
The American Breed,
Lou Reed & John Cale,
Parry Music,
Graham Central Station,
Deutsch Amerikanische Freundschaft,
Underground Resistance,
Soulsonic Force,
Lungfish,
Nick Fraelich,
Kenny Larkin,
The Doobie Brothers,
Sight & Sound,
Funkadelic,
Ice-T,
Qualms,
Brick,
Ronan,
The Fuzztones,
Maleditus Sound,
Cymande,
Au Pairs,
Lizzy Mercier Descloux,
Morten Harket,
Hardrive,
The Happenings,
X-Ray Spex,
Soft Machine,
China Crisis,
Echospace,
The Red Krayola,
Curtis Mayfield,
Kerri Chandler,
Tomorrow,
Sandy B,
Iggy Pop,
Big Daddy Kane,
Buzzcocks,
Fort Wilson Riot,
The Pop Group,
EPMD,
The Mummies,
Darondo,
New Age Steppers,
Dual Sessions,
the Human League,
James White and The Blacks,
Barbara Tucker,
Pantytec,
Don Cherry,
The Black Dice,
Procol Harum,
Zero Boys,
The Durutti Column,
The Saints,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.