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 Germany and from Delhi.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school Winnipeg 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 Captain Beefheart 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 Index to the punk 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 Mandrill. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every The Names 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
KRS-One,
Trumans Water,
Rhythim Is Rhythim,
Ultramagnetic MC's,
The Gun Club,
James Chance & The Contortions,
X-102,
Alice Coltrane,
DJ Style,
Pete Rock & C.L. Smooth,
Matthew Bourne,
Bobby Womack,
Shoche,
Jimmy McGriff,
Dennis Brown,
Radio Birdman,
Freddie Wadling,
The Red Krayola,
Jesper Dahlback,
Moby Grape,
Hasil Adkins,
David Axelrod,
Ajijia Myrayebe,
Jeru the Damaja,
The Smiths,
Soft Cell,
De La Soul & Jungle Brothers,
Popol Vuh,
Intrusion,
Derrick Morgan,
X-101,
Index,
Rowland S Howard / Lydia Lunch,
Black Flag,
Urselle,
Sun Ra,
The Move,
Faraquet,
The Saints,
Howard Jones,
Deepchord,
Fela Kuti,
Half Japanese,
The Golliwogs,
John Foxx,
The Doors,
The Dirtbombs,
Stiv Bators,
Grandmaster Flash and the Furious Five,
Au Pairs,
Gil Scott-Heron & Brian Jackson,
Liliput,
Prince Buster,
Quadrant,
The Fall,
Crispy Ambulance,
The Barracudas,
Dark Day,
Stereo Dub,
Dave Gahan,
Dawn Penn,
Sällskapet,
Derrick May, Derrick May, Derrick May, Derrick May.
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.