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 Oman and from Mexico City.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Halifax and Delhi.
I'm losing my edge to the art-school Mexico City 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 808 sounds with much patience.
I was there when Holger Czukay 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 Tears for Fears to the techno 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 Ultravox. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every James White and The Blacks 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Simply Red,
John Holt,
Cal Tjader,
The Kinks,
Larry & the Blue Notes,
Newcleus,
Chris & Cosey,
Spoonie Gee,
Symarip,
The Star Department,
Eli Mardock,
Amazonics,
Eric Dolphy,
James Chance & The Contortions,
Sixth Finger,
Andrew Ashong & Theo Parrish,
U.S. Maple,
DJ Style,
Pet Shop Boys,
Joe Finger,
Cymande,
Mark Hollis,
Vaughan Mason & Crew,
A Certain Ratio,
Strawberry Alarm Clock,
Visionaries,LMNO, T- Love & Iriscience,
Robert Wyatt,
Marshall Jefferson,
Lalann,
Graham Central Station,
Orchestral Manoeuvres in the Dark,
Moss Icon,
Byron Stingily,
Buzzcocks,
Super Lover Cee & Casanova Rud,
Kango’s Stein Massive,
Chris Corsano,
The Music Machine,
China Crisis,
cv313,
Deakin,
Beasts of Bourbon,
Wighnomy Brothers & Robag Wruhme,
Grandmaster Flash,
Bobby Womack,
the Germs,
The Moleskins,
Rites of Spring,
Mr. Review,
The Cramps,
Malaria!,
Spandau Ballet,
Silicon Teens,
The Velvet Underground,
The Last Poets,
Chrome,
Infiniti,
John Coltrane,
Dr. Dre and Snoop Doggy Dog,
The Fortunes,
De La Soul & Jungle Brothers,
Alison Limerick,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.