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 Panama and from Portland.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Lagos and Sao Paulo.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the sitar 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 Jacques Brel to the rock 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 Eric Copeland. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every Kevin Saunderson 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Skatalites record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
New York Dolls,
Camberwell Now,
Matthew Bourne,
The Knickerbockers,
Man Parrish,
Selector Dub Narcotic,
Maleditus Sound,
Joensuu 1685,
The Cramps,
Pierre Henry,
Minny Pops,
Roy Ayers,
Zero Boys,
The Searchers,
Trumans Water,
The Young Rascals,
Bob Dylan,
Angels of Light & Akron/Family,
the Sonics,
Agitation Free,
Theoretical Girls,
Camouflage,
Groovy Waters,
Scrapy,
Donny Hathaway,
Sparks,
The Names,
Moby Grape,
Neu!,
Wighnomy Brothers & Robag Wruhme,
Duran Duran,
The Birthday Party,
Blake Baxter,
Organ,
Deadbeat,
Freddie Wadling,
Babytalk,
Lyres,
Rufus Thomas,
Major Organ And The Adding Machine,
David Axelrod,
Heavy D & The Boyz,
The Grass Roots,
Tubeway Army,
Judy Mowatt,
Rekid,
CMW,
Carl Craig,
Talk Talk,
Barclay James Harvest,
Jerry Gold Smith,
Alice Coltrane,
Cheater Slicks,
the Normal,
Yellowson,
The Jesus and Mary Chain,
Glenn Branca,
Stetsasonic,
Susan Cadogan,
Tears for Fears,
Terrestrial Tones,
Main Source,
The Misunderstood,
Joyce Sims,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.