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 Andorra and from Delhi.
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 1960 to 1972.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school Philadelphia 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 güiro 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 Mars to the jazz kids.
I played it at Cafe Wha.
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 Hasil Adkins. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Livin' Joy record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Jeff Mills,
Ronnie Foster,
Lindisfarne,
Art Ensemble Of Chicago,
Wings,
Nick Fraelich,
Harry Pussy,
Jeff Lynne,
It's A Beautiful Day,
The Smiths,
The Fuzztones,
Second Layer,
The Neon Judgement,
Alton Ellis,
Fugazi,
Eurythmics,
Heavy D & The Boyz,
Derrick May,
Juan Atkins,
Main Source,
Radio Birdman,
Grauzone,
Ossler,
Make Up,
Royal Trux,
Lalann,
Brick,
Drexciya,
the Association,
Sun City Girls,
Pagans,
Teenage Jesus and the Jerks,
Pharaoh Sanders and the Fire Engines,
Lucky Dragons,
Rufus Thomas,
Joyce Sims,
The West Coast Pop Art Experimental Band,
Lafayette Afro Rock Band,
Echo & the Bunnymen,
Richard Hell and the Voidoids,
The Doors,
Sight & Sound,
Donny Hathaway,
Marc Romboy vs. Booka Shade,
Slave,
Infiniti,
Connie Case,
Sound Behaviour,
Glambeats Corp.,
New York Dolls,
Barrington Levy,
Lungfish,
Gastr Del Sol,
Kas Product,
Fort Wilson Riot,
Isaac Hayes,
The Detroit Cobras,
Brand Nubian,
Groovy Waters,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.