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 Switzerland and from Tokyo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1970.
I'm losing my edge.
To all the kids in Lagos and Bologna.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the arpeggiator 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 Fortunes to the jazz kids.
I played it at the Spitz.
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 Colin Newman. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal crunk 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 a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Jimmy McGriff,
Swans,
The Velvet Underground,
Rosa Yemen,
Crispy Ambulance,
Girls At Our Best!,
Judy Mowatt,
Sun Ra,
Laurel Aitken,
Pharoah Sanders,
Easy Going,
Throbbing Gristle,
Bobby Hutcherson,
Public Enemy,
T.S.O.L.,
Alice Coltrane,
Eric B and Rakim,
Andrew Hill,
The Leaves,
Chrome,
Johnny Clarke,
PIL,
Young Marble Giants,
Agent Orange,
Kenny Larkin,
Scientists,
Man Eating Sloth,
Flipper,
The Star Department,
Electric Prunes,
Niagra,
Arthur Verocai,
Godley & Creme,
Gil Scott-Heron & Brian Jackson,
Sad Lovers and Giants,
Crispian St. Peters,
Dave Gahan,
The Pretty Things,
London Community Gospel Choir,
Hardrive,
DeepChord presents Echospace,
Sight & Sound,
The Red Krayola,
Slick Rick,
cv313,
Cluster,
Ultimate Spinach,
Dorothy Ashby,
Lou Christie,
Robert Hood,
Rapeman,
Surgeon,
Urselle,
Altered Images,
Mo-Dettes,
Frankie Knuckles,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.