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 Cuba and from Portland.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1973.
I'm losing my edge.
To all the kids in Lyon and Calgary.
I'm losing my edge to the art-school Jakarta 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 Zapp practice in a loft in Hamilton.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Cal Tjader to the disco kids.
I played it at the Crocodile.
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 Angry Samoans. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every Easy Going 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Eric B and Rakim,
Bill Near,
Spandau Ballet,
The Fortunes,
Todd Rundgren,
Jeff Mills,
Aloha Tigers,
Model 500,
Funkadelic,
World's Most,
Mark Hollis,
the Slits,
EPMD,
Red Lorry Yellow Lorry,
Duran Duran,
Kenny Larkin,
Lightning Bolt,
In Retrospect,
Carl Craig,
ABBA,
Jacques Brel,
Sällskapet,
Arthur Verocai,
Ralphi Rosario,
Ronnie Foster,
Skarface,
Unrelated Segments,
Captain Beefheart & His Magic Band,
Albert Ayler,
cv313,
Archie Shepp,
the Association,
F. McDonald,
Röyhkä ja Rättö ja Lehtisalo,
Faust,
Richard Hell and the Voidoids,
Soul II Soul,
Bootsy Collins,
Eli Mardock,
The Alarm Clocks,
James Chance & The Contortions,
Pole,
The Toasters,
Au Pairs,
Brick,
Bob Dylan,
Cymande,
Andrew Hill,
Gil Scott Heron,
Fatback Band,
The Leaves,
Peter and Kerry,
Monolake,
MDC,
Sight & Sound,
Marshall Jefferson,
Oppenheimer Analysis,
Ronan,
Girls At Our Best!,
Kayak,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.