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 Madagascar and from Manila.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1979.
I'm losing my edge.
To all the kids in Mexico City and Delhi.
I'm losing my edge to the art-school Cairo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 Franke to the crunk kids.
I played it at the Troubador.
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 Rahsaan Roland Kirk. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
Brick,
Bluetip,
Frankie Knuckles,
Hardrive,
The Fire Engines,
CMW,
Donny Hathaway,
Grey Daturas,
Marc Romboy vs. Booka Shade,
Eric Copeland,
Whodini,
Gerry Rafferty,
Rufus Thomas,
Black Moon,
Tim Buckley,
The Selecter,
Duran Duran,
Gichy Dan,
Lucky Dragons,
The Alarm Clocks,
Scrapy,
New York Dolls,
Grandmaster Flash and the Furious Five,
Gong,
Little Man,
Young Marble Giants,
The Doobie Brothers,
Jeru the Damaja,
Q65,
Pharoah Sanders,
Boogie Down Productions,
Mandrill,
Alice Coltrane,
Thinking Fellers Union Local 282,
the Fania All-Stars,
Ossler,
Dorothy Ashby,
Desert Stars,
Eurythmics,
New Order,
DeepChord presents Echospace,
Country Teasers,
Au Pairs,
Porter Ricks,
John Lydon,
Nation of Ulysses,
The Slits,
Vaughan Mason & Crew,
Susan Cadogan,
F. McDonald,
Magazine,
Amon Düül II,
The Evens,
Byron Stingily,
Sonny Sharrock,
Matthew Halsall,
Moby Grape,
AZ,
Symarip,
Bootsy Collins,
The Moleskins,
Bobby Hutcherson,
Cluster,
The Busters, The Busters, The Busters, The Busters.
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.