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 Fiji and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1972.
I'm losing my edge.
To all the kids in Paris and Manchester.
I'm losing my edge to the art-school Winnipeg 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 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 The Index to the rap kids.
I played it at the Astoria.
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 Bauhaus. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal disco 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 snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
One Last Wish,
Todd Rundgren,
Lizzy Mercier Descloux,
Wally Richardson,
Harpers Bizarre,
Country Joe & The Fish,
Eurythmics,
Mandrill,
B.T. Express,
Rapeman,
Bad Manners,
The Move,
Skriet,
Cabaret Voltaire,
Stetsasonic,
Tommy Roe,
The Electric Prunes,
The Cosmic Jokers,
James Chance & The Contortions,
The Buckinghams,
The Doors,
Boogie Down Productions,
Pylon,
Alison Limerick,
Tropical Tobacco,
Pete Rock & C.L. Smooth,
La Düsseldorf,
Kas Product,
Half Japanese,
Pagans,
Visionaries,LMNO, T- Love & Iriscience,
Mad Mike,
Yellowson,
Pole,
Gregory Isaacs,
Lindisfarne,
Trumans Water,
June of 44,
Deutsch Amerikanische Freundschaft,
Girls At Our Best!,
Japan,
Aural Exciters,
Sight & Sound,
Youth Brigade,
Gian Franco Pienzio,
Negative Approach,
Lakeside,
Public Enemy,
Curtis Mayfield,
Scion,
Pet Shop Boys,
Pierre Henry,
Iggy Pop,
Brand Nubian,
Jawbox,
Goldenarms,
Cluster,
The Seeds,
Audionom,
Mo-Dettes,
JFA,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.