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 Ivory Coast and from Edmonton.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school London 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe 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 Derrick Morgan to the techno 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 Soul II Soul. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Lebanon Hanover,
EPMD,
The Martian,
T. Rex,
Gang Green,
Moebius,
Lee Hazlewood,
Von Mondo,
48th St. Collective,
Motorama,
Nils Olav,
Red Lorry Yellow Lorry,
The Neon Judgement,
Thompson Twins,
In Retrospect,
Ash Ra Tempel,
Throbbing Gristle,
Gastr Del Sol,
Avey Tare's Slasher Flicks,
The Smoke,
The Divine Comedy,
Bush Tetras,
Blossom Toes,
Matthew Bourne,
Cheater Slicks,
Quando Quango,
Rapeman,
Unrelated Segments,
Absolute Body Control,
Parry Music,
David Axelrod,
Echospace,
Malaria!,
June of 44,
Section 25,
Sun City Girls,
Darondo,
Echo & the Bunnymen,
Sad Lovers and Giants,
The Fire Engines,
Hasil Adkins,
Warren Ellis,
The Doors,
Ohio Players,
Radiohead,
Sandy B,
Gian Franco Pienzio,
Gil Scott-Heron & Brian Jackson,
Sparks,
Black Sheep,
The Pop Group,
The Fuzztones,
Bobby Hutcherson,
Barbara Tucker,
Eli Mardock,
Piero Umiliani,
Grandmaster Flash,
Roy Ayers,
Lou Reed & John Cale,
Susan Cadogan,
The United States of America,
John Lydon, John Lydon, John Lydon, John Lydon.
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.