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 Pakistan and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Philadelphia and Lille.
I'm losing my edge to the art-school Taipei 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 808 sounds with much patience.
I was there when Robert Palmer 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 Average White Band to the techno kids.
I played it at the Spitz.
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 Derrick Morgan. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Black Pus 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
A Flock of Seagulls,
Talk Talk,
A Certain Ratio,
Erykah Badu,
Fort Wilson Riot,
Unwound,
Chris & Cosey,
Anakelly,
Vainqueur,
Pantytec,
The Searchers,
Kas Product,
Rod Modell,
Yazoo,
Gregory Isaacs,
Negative Approach,
Gil Scott-Heron & Brian Jackson,
Davy DMX,
Juan Atkins,
Selector Dub Narcotic,
Nas,
Bush Tetras,
Big Daddy Kane,
Stiv Bators,
Supertramp,
Dual Sessions,
U.S. Maple,
Matthew Halsall,
The Selecter,
Unrelated Segments,
Junior Murvin,
Beasts of Bourbon,
Shuggie Otis,
Los Fastidios,
The Saints,
Maleditus Sound,
Roy Ayers Ubiquity,
Jeff Lynne,
Sun Ra,
Gang Gang Dance,
Lungfish,
Motorama,
Bootsy's Rubber Band,
This Heat,
Ajijia Myrayebe,
David Axelrod,
Tomorrow,
Magma,
The Trojans,
Roxy Music,
Ken Boothe,
Stockholm Monsters,
Althea and Donna,
Au Pairs,
Gang Green,
Cal Tjader,
Vladislav Delay,
Man Eating Sloth,
The Raincoats,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.