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 Yemen and from Winnipeg.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Hong Kong.
I'm losing my edge to the art-school Madrid 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 Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Rapeman to the punk kids.
I played it at CBGB's.
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 Sad Lovers and Giants. All the underground hits.
All DJ Sneak tracks. I heard you have a vinyl of every Jeff Mills 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
Thee Headcoats,
Fat Boys,
June Days,
Radio Birdman,
The Moleskins,
Henry Cow,
Hasil Adkins,
A Certain Ratio,
Rites of Spring,
Super Lover Cee & Casanova Rud,
Barbara Tucker,
DJ Sneak,
Erasure,
Girls At Our Best!,
Peter Gordon & Love of Life Orchestra,
Oblivians,
Notorious Big And Bone Thugs,
Judy Mowatt,
Marmalade,
the Slits,
The Fortunes,
Pole,
Skarface,
The Divine Comedy,
The Buckinghams,
Donald Byrd,
Gang of Four,
Pantytec,
Be Bop Deluxe,
Deutsch Amerikanische Freundschaft,
Stockholm Monsters,
Camron Feat. Memphis Bleek And Beenie Seigel,
LL Cool J,
Rhythm & Sound,
Half Japanese,
Hardrive,
Scrapy,
Ultramagnetic MC's,
Soft Cell,
Yusef Lateef,
Das Ding,
Jawbox,
The Leaves,
Electric Prunes,
Sugar Minott,
The Dead C,
Lou Reed & Metallica,
Lindisfarne,
Unrelated Segments,
John Cale,
The Barracudas,
Joe Smooth,
Sister Nancy,
Section 25,
the Swans,
Neu!,
Monks,
Rhythim Is Rhythim,
Faraquet,
Massinfluence,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.