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 Tanzania and from Spokane.
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 Sao Paulo and Spokane.
I'm losing my edge to the art-school Shanghai 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 1968 at the first Can practice in a loft in Cologne.
I was working on the linndrum 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 Little Man to the crunk 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 Aswad. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every the Human League record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Massinfluence,
The Modern Lovers,
June Days,
Nik Kershaw,
Barry Ungar,
Rakim,
The Human League,
Soulsonic Force,
Quantec,
Cabaret Voltaire,
JFA,
OOIOO,
Skarface,
Soul Sonic Force,
The Cowsills,
Liaisons Dangereuses,
Sad Lovers and Giants,
Zapp,
Bobby Hutcherson,
Roy Ayers,
Vladislav Delay,
Barbara Tucker,
Connie Case,
X-101,
Nas,
Marvin Gaye,
Man Eating Sloth,
Bluetip,
Blake Baxter,
Aswad,
Half Japanese,
Royal Trux,
The Zeros,
Joe Smooth,
Gang Green,
Strawberry Alarm Clock,
The West Coast Pop Art Experimental Band,
Talk Talk,
Wally Richardson,
Ash Ra Tempel,
The Black Dice,
Schoolly D,
John Holt,
The Searchers,
D'Angelo,
The Grass Roots,
Gil Scott-Heron & Brian Jackson,
Sexual Harrassment,
Michelle Simonal,
Avey Tare's Slasher Flicks,
the Association,
Circle Jerks,
Yaz,
Intrusion,
Thee Headcoats,
Davy DMX,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Scrapy,
UT,
John Foxx,
Youth Brigade,
Motorama, Motorama, Motorama, Motorama.
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.