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 United Kingdom and from Mexico City.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1974.
I'm losing my edge.
To all the kids in Toronto and Sao Paulo.
I'm losing my edge to the art-school Manila 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 güiro 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 Minnie Riperton to the jazz 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 Ohio Players. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
The Zeros,
The Slits,
Maleditus Sound,
Man Eating Sloth,
Ten City,
Country Joe & The Fish,
Soul Sonic Force,
Juan Atkins,
Jacques Brel,
Bootsy Collins,
Magma,
Monolake,
Big Daddy Kane,
DJ Sneak,
The Busters,
The Trojans,
Deakin,
The Velvet Underground,
Rahsaan Roland Kirk,
Aloha Tigers,
The Blackbyrds,
Nik Kershaw,
Youth Brigade,
The Doors,
Ken Boothe,
The Stooges,
The Jesus and Mary Chain,
Urselle,
The Tremeloes,
Johnny Osbourne,
Judy Mowatt,
Stereo Dub,
Lyres,
Swans,
Ultimate Spinach,
The Neon Judgement,
Bang On A Can,
The Sonics,
Brick,
Letta Mbulu,
Cameo,
Agent Orange,
Spandau Ballet,
Mission of Burma,
Agitation Free,
Alton Ellis,
Excepter,
Ituana,
Cal Tjader,
Tom Boy,
Sonic Youth,
Ronnie Foster,
Brand Nubian,
Dennis Brown,
R.M.O.,
Avey Tare's Slasher Flicks,
Minutemen,
Angels of Light & Akron/Family,
The Star Department,
A Certain Ratio,
Arthur Verocai,
Dr. Dre and Snoop Doggy Dog,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.