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 Honduras and from Woodstock.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1961 to 1974.
I'm losing my edge.
To all the kids in Salvador and Salvador.
I'm losing my edge to the art-school Seoul 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 Zapp practice in a loft in Hamilton.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 The Slackers to the rock kids.
I played it at Cafe Wha.
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 Freddie Wadling. All the underground hits.
All DJ Sneak tracks. I heard you have a vinyl of every Sam Rivers record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Robert Wyatt,
Minutemen,
Brick,
Camouflage,
Letta Mbulu,
Strawberry Alarm Clock,
The Offenders,
The Cure,
The Dirtbombs,
These Immortal Souls,
Technova,
Lakeside,
Eli Mardock,
Wally Richardson,
Skriet,
Kurtis Blow,
The Remains,
John Coltrane,
Television,
The Last Poets,
Spandau Ballet,
Lightning Bolt,
Make Up,
De La Soul & Jungle Brothers,
Cluster,
Sister Nancy,
Freddie Wadling,
Urselle,
Circle Jerks,
Bluetip,
Justin Hinds & The Dominoes,
Magazine,
The Pop Group,
Prince Buster,
The Toasters,
The Men They Couldn't Hang,
The Cowsills,
Electric Light Orchestra,
Peter and Kerry,
T. Rex,
Dual Sessions,
Sonny Sharrock,
The Monochrome Set,
The Trojans,
D'Angelo,
Morten Harket,
Pole,
Porter Ricks,
U.S. Maple,
The Flesh Eaters,
Suicide,
Kerrie Biddell,
The J.B.'s,
The Doors,
Avey Tare & Kría Brekkan,
Bang on a Can All-Stars,
Visage,
June Days,
Surgeon,
Negative Approach,
Crime,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.