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 Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Houston 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 marimba 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 Sarah Menescal to the grunge kids.
I played it at Trash.
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 Unrelated Segments. All the underground hits.
All Sun Ra Arkestra 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 funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
Metal Thangz,
Los Fastidios,
Lalann,
Joe Smooth,
Outsiders,
Niagra,
Q65,
the Fania All-Stars,
Arab on Radar,
New Age Steppers,
Zero Boys,
F. McDonald,
Agitation Free,
The Dave Clark Five,
The Gun Club,
Au Pairs,
John Holt,
Bobbi Humphrey,
Nas,
Unrelated Segments,
Mark Hollis,
Ultramagnetic MC's,
The Wake,
Fifty Foot Hose,
the Human League,
Gil Scott-Heron and Jamie xx,
Lizzy Mercier Descloux,
Johnny Clarke,
Adolescents,
Bobby Byrd,
Boogie Down Productions,
Fort Wilson Riot,
D'Angelo,
A Flock of Seagulls,
DJ Style,
Pussy Galore,
Wings,
Graham Central Station,
Chris & Cosey,
Television,
Aural Exciters,
Vladislav Delay,
Lee Hazlewood,
Reuben Wilson,
China Crisis,
Gang of Four,
Public Image Ltd.,
Kerrie Biddell,
The Cosmic Jokers,
UT,
Half Japanese,
Rosa Yemen,
Slave,
Sun Ra,
Dorothy Ashby,
Warsaw,
World's Most,
Carl Craig,
Marvin Gaye,
Laurel Aitken,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.