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 Bolivia and from Bologna.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 the Fania All-Stars to the disco kids.
I played it at the 40 Watt.
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 Real Kids. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every Janne Schatter 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 '90s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Interpol,
Charles Mingus,
Fear,
Fat Boys,
Babytalk,
The Fugs,
Duran Duran,
Glenn Branca,
Mr. Review,
Matthew Halsall,
Brand Nubian,
Radiohead,
Kas Product,
Laurel Aitken,
Strawberry Alarm Clock,
Procol Harum,
Jerry Gold Smith,
Grandmaster Flash,
Rhythm & Sound,
Marmalade,
Jeff Lynne,
Public Enemy,
The Birthday Party,
Bronski Beat,
Maurizio,
Ornette Coleman,
Scott Walker,
New York Dolls,
The Cosmic Jokers,
Pagans,
Ash Ra Tempel,
Shoche,
Kaleidoscope,
Todd Terry,
Vladislav Delay,
Eli Mardock,
Rites of Spring,
Soulsonic Force,
The Five Americans,
Albert Ayler,
Yusef Lateef,
Judy Mowatt,
Lakeside,
Teenage Jesus and the Jerks,
Negative Approach,
Be Bop Deluxe,
Audionom,
Vainqueur,
The Fortunes,
Cheater Slicks,
The Mighty Diamonds,
Gang Gang Dance,
Art Ensemble Of Chicago,
Stetsasonic,
Joensuu 1685,
Traffic Nightmare,
Kayak,
Erasure,
Super Lover Cee & Casanova Rud,
Neil Young,
Dennis Brown,
Thompson Twins,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.