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 Guinea and from Portland.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Manchester.
I'm losing my edge to the art-school New York 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Eurythmics to the electroclash kids.
I played it at the Troubador.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Average White Band 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 an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
Alison Limerick,
Pharaoh Sanders and the Fire Engines,
Sun Ra Arkestra,
Oneida,
David Bowie,
Man Eating Sloth,
PIL,
The Barracudas,
The Raincoats,
Scratch Acid,
Trumans Water,
Kango’s Stein Massive,
Derrick Morgan,
Eli Mardock,
Yusef Lateef,
Soft Cell,
Pole,
Johnny Clarke,
David McCallum,
Fatback Band,
The Beau Brummels,
Wolf Eyes,
Ossler,
The Durutti Column,
The Human League,
Rowland S Howard / Lydia Lunch,
B.T. Express,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Royal Family And The Poor,
Matthew Halsall,
Main Source,
Cymande,
The Birthday Party,
Donny Hathaway,
These Immortal Souls,
Quando Quango,
A Certain Ratio,
ABC,
Roxette,
The Gun Club,
Infiniti,
Gil Scott-Heron & Brian Jackson,
Cecil Taylor,
Radio Birdman,
The Move,
Glambeats Corp.,
Gian Franco Pienzio,
Robert Hood,
The Kinks,
8 Eyed Spy,
Prince Buster,
Kaleidoscope,
Eric B and Rakim,
The J.B.'s,
Ituana,
John Holt,
Matthew Bourne,
Grandmaster Flash,
Piero Umiliani,
10cc,
Alphaville, Alphaville, Alphaville, Alphaville.
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.