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 Liechtenstein and from Columbus.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Milan and Toronto.
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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Alison Limerick to the grime kids.
I played it at the Hacienda.
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 Soul Sonic Force. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Prince Buster,
The Jesus and Mary Chain,
Negative Approach,
Joe Finger,
Bill Wells,
Barrington Levy,
John Lydon,
Pierre Henry,
Pet Shop Boys,
Gang of Four,
Sex Pistols,
The Beau Brummels,
Ken Boothe,
Severed Heads,
Don Cherry,
Michelle Simonal,
Lalo Schifrin,
Lyres,
a-ha,
Dead Boys,
Los Fastidios,
Fatback Band,
Rakim,
These Immortal Souls,
Traffic Nightmare,
Avey Tare,
Wighnomy Brothers & Robag Wruhme,
Audionom,
Wings,
The Fuzztones,
Patti Smith,
Sonic Youth,
The Smoke,
The Kinks,
The Golliwogs,
The Happenings,
The Motions,
Von Mondo,
Yusef Lateef,
Minutemen,
Jeff Lynne,
Howard Jones,
Stockholm Monsters,
Country Teasers,
Fat Boys,
Second Layer,
Joensuu 1685,
Dr. Dre and Snoop Doggy Dog,
Country Joe & The Fish,
Vaughan Mason & Crew,
Main Source,
Johnny Clarke,
Ultravox,
Mo-Dettes,
Banda Bassotti,
Arthur Verocai,
Spandau Ballet,
The Sisters of Mercy,
Moebius,
The Neon Judgement,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.