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 Kosovo and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Accra.
I'm losing my edge to the art-school Woodstock 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 güiro 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 Ken Boothe to the rap 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 Sly & The Family Stone. All the underground hits.
All Magma tracks. I heard you have a vinyl of every The Mummies record on German import.
I heard that you have a white label of every seminal rap 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 guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Sexual Harrassment,
Brass Construction,
Brick,
Liliput,
The Smoke,
Surgeon,
Fear,
Siouxsie and the Banshees,
Blake Baxter,
Marshall Jefferson,
Boredoms,
Make Up,
Adolescents,
Eddi Front,
Eyeless In Gaza,
Rod Modell,
Lou Christie,
The Men They Couldn't Hang,
Black Bananas,
The Martian,
the Soft Cell,
Tomorrow,
Delon & Dalcan,
Gil Scott Heron,
Jacques Brel,
48th St. Collective,
Mission of Burma,
The Durutti Column,
The Barracudas,
Kerrie Biddell,
Gerry Rafferty,
The Fortunes,
Röyhkä ja Rättö ja Lehtisalo,
Colin Newman,
Pete Rock & C.L. Smooth,
Spandau Ballet,
Qualms,
OOIOO,
Moby Grape,
Bang On A Can,
Thee Headcoats,
Al Stewart,
Radio Birdman,
The Mojo Men,
Marvin Gaye,
London Community Gospel Choir,
Kool Moe Dee,
Mary Jane Girls,
Depeche Mode,
Interpol,
The Skatalites,
Teenage Jesus and the Jerks,
Junior Murvin,
Alice Coltrane,
Brand Nubian,
Graham Central Station,
De La Soul & Jungle Brothers,
Fugazi,
Scion,
DeepChord presents Echospace,
Niagra,
Japan, Japan, Japan, Japan.
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.