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 Tunisia and from Cairo.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Tokyo.
I'm losing my edge to the art-school Portland 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Hasil Adkins to the jazz 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 Red Lorry Yellow Lorry. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every the Bar-Kays record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Dorothy Ashby,
Wire,
Country Joe & The Fish,
Alphaville,
Janne Schatter,
Selector Dub Narcotic,
Ice-T,
Marc Almond,
Newcleus,
Aloha Tigers,
Kenny Larkin,
Animal Collective,
Vainqueur,
X-101,
OOIOO,
The Music Machine,
Moby Grape,
Sight & Sound,
Scion,
Country Teasers,
LL Cool J,
Susan Cadogan,
Todd Terry,
H. Thieme,
Lou Reed & Metallica,
DJ Style,
The Raincoats,
Curtis Mayfield,
Boredoms,
Gil Scott Heron,
Swans,
The Vogues,
Sam Rivers,
Desert Stars,
Model 500,
Don Cherry,
Louis and Bebe Barron,
John Holt,
Public Enemy,
Gang Gang Dance,
Neil Young,
Minutemen,
Blake Baxter,
Isaac Hayes,
Intrusion,
Art Ensemble Of Chicago,
Steve Hackett,
Roxy Music,
The Angels of Light,
Jesper Dahlbäck,
Alice Coltrane,
Talk Talk,
Hot Snakes,
Eric Dolphy,
Avey Tare's Slasher Flicks,
X-Ray Spex,
The Monks,
Joensuu 1685,
Arab on Radar,
Jacob Miller,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.