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 Bangladesh and from Accra.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Paris and Mumbai.
I'm losing my edge to the art-school Philadelphia 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 synthesizer 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 Bootsy Collins to the grime kids.
I played it at Trash.
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 Easy Going. All the underground hits.
All Bootsy's Rubber Band tracks. I heard you have a vinyl of every Soft Cell 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
The Electric Prunes,
Rhythm & Sound,
Peter & Gordon,
Pagans,
Matthew Bourne,
Malaria!,
Connie Case,
The Angels of Light,
Sam Rivers,
Thompson Twins,
Jesper Dahlback,
U.S. Maple,
Wally Richardson,
Tomorrow,
The Cure,
Hasil Adkins,
DJ Style,
Eyeless In Gaza,
Eric B and Rakim,
Todd Rundgren,
Fort Wilson Riot,
Jeru the Damaja,
Soft Cell,
Marshall Jefferson,
Roxy Music,
Lizzy Mercier Descloux,
F. McDonald,
The Selecter,
Cymande,
Fifty Foot Hose,
Bobby Sherman,
T. Rex,
The Gories,
DeepChord presents Echospace,
The Doobie Brothers,
James White and The Blacks,
Scratch Acid,
Ossler,
Warren Ellis,
New Age Steppers,
Outsiders,
Gregory Isaacs,
Kings Of Tomorrow,
Strawberry Alarm Clock,
Aaron Thompson,
Country Teasers,
Faraquet,
the Swans,
New York Dolls,
Big Daddy Kane,
Minny Pops,
Marc Almond,
Stiv Bators,
Drive Like Jehu,
Con Funk Shun,
Jacques Brel,
New Order,
Major Organ And The Adding Machine,
Hoover,
London Community Gospel Choir,
Suburban Knight,
Can,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.