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 Congo and from London.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Tokyo and New York.
I'm losing my edge to the art-school Manila 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 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 Howard Jones. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a New Age Steppers record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Joe Smooth,
Camron Feat. Jay Z And Juelz,
The Invisible,
Marc Romboy vs. Booka Shade,
The Moody Blues,
Gil Scott-Heron & Brian Jackson,
Hashim,
Cabaret Voltaire,
Bang On A Can,
Nas,
The Monks,
Be Bop Deluxe,
the Sonics,
Fat Boys,
John Lydon,
Basic Channel,
Nils Olav,
Tubeway Army,
The Peanut Butter Conspiracy,
KRS-One,
Scion,
Bobby Sherman,
World's Most,
Bush Tetras,
Wighnomy Brothers & Robag Wruhme,
Alice Coltrane,
Popol Vuh,
Gong,
Eli Mardock,
The Detroit Cobras,
Neil Young & Crazy Horse,
Alison Limerick,
Connie Case,
The New Christs,
Boredoms,
D'Angelo,
Lee Hazlewood,
Mr. Review,
The Smoke,
The Beau Brummels,
The Knickerbockers,
Pantytec,
London Community Gospel Choir,
Altered Images,
Kerri Chandler,
Accadde A,
Porter Ricks,
Model 500,
Dark Day,
Ultramagnetic MC's,
Main Source,
Country Teasers,
Al Stewart,
Mad Mike,
T. Rex,
The Dave Clark Five,
Qualms,
Iggy Pop,
Echospace,
The Doobie Brothers,
Jesper Dahlback,
Aswad,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.