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 Burundi and from New York.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Taipei and Portland.
I'm losing my edge to the art-school Accra 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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Siglo XX to the disco kids.
I played it at the Astoria.
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 Scion. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Unrelated Segments,
Ten City,
Minnie Riperton,
The Mojo Men,
Soul II Soul,
Eddi Front,
Scientists,
Connie Case,
DNA,
Wire,
Minny Pops,
Eurythmics,
Crash Course in Science,
Kerri Chandler,
Agent Orange,
Mark Hollis,
Orchestral Manoeuvres in the Dark,
Traffic Nightmare,
The Star Department,
Davy DMX,
Todd Rundgren,
Barry Ungar,
The Cosmic Jokers,
Rakim,
Second Layer,
Loose Ends,
Roy Ayers,
Black Bananas,
Supertramp,
Chrome,
The Happenings,
Crispy Ambulance,
Al Stewart,
Clear Light,
AZ,
Ralphi Rosario,
The Wake,
Aloha Tigers,
Electric Prunes,
E-Dancer,
Technova,
Janne Schatter,
the Association,
The Fall,
Soft Machine,
Hardrive,
Rowland S Howard / Lydia Lunch,
The Kinks,
New York Dolls,
the Germs,
Faust,
Donny Hathaway,
Surgeon,
Heavy D & The Boyz,
Stockholm Monsters,
Lakeside,
Mary Jane Girls,
The Knickerbockers,
Public Enemy,
MDC,
The Move,
Graham Central Station,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.