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 Panama and from London.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1979.
I'm losing my edge.
To all the kids in Lille and Shanghai.
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 organ sounds with much patience.
I was there when Robert Palmer 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 DNA to the rap 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 Freddie Wadling. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Ultramagnetic MC's record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja 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?
The Litter,
Pere Ubu,
A Flock of Seagulls,
The Dead C,
Connie Case,
Deadbeat,
LL Cool J,
Laurel Aitken,
Dual Sessions,
Monolake,
Marc Romboy vs. Booka Shade,
Röyhkä ja Rättö ja Lehtisalo,
Derrick May,
The New Christs,
Ponytail,
Subhumans,
Ultimate Spinach,
Pharaoh Sanders and the Fire Engines,
Average White Band,
The Neon Judgement,
Big Daddy Kane,
Joy Division,
Cybotron,
Morten Harket,
Fela Kuti,
The Index,
Jeru the Damaja,
Ten City,
Gang of Four,
Urselle,
John Holt,
Justin Hinds & The Dominoes,
Traffic Nightmare,
Agent Orange,
Donald Byrd,
Soft Machine,
Harmonia,
Oblivians,
Andrew Ashong & Theo Parrish,
Hoover,
Pete Rock & C.L. Smooth,
Gian Franco Pienzio,
Tubeway Army,
Quando Quango,
The Walker Brothers,
Schoolly D,
De La Soul & Jungle Brothers,
the Normal,
Echospace,
Animal Collective,
The Angels of Light,
kango's stein massive,
Hasil Adkins,
Arab on Radar,
Marshall Jefferson,
The Gladiators,
The Toasters,
Franke,
A Certain Ratio,
Parry Music,
Avey Tare,
Peter Gordon & Love of Life Orchestra,
Oneida,
Negative Approach,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.