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 Guinea and from Seoul.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Toronto and Johannesburg.
I'm losing my edge to the art-school Copenhagen 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 clarinet 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 Fuzztones to the electroclash 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 Guru Guru. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Deadbeat 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
the Bar-Kays,
Josef K,
Mary Jane Girls,
The Fugs,
Wasted Youth,
UT,
Public Image Ltd.,
John Coltrane,
Andrew Hill,
Marshall Jefferson,
Gerry Rafferty,
Crispian St. Peters,
Lonnie Liston Smith,
The Smoke,
Girls At Our Best!,
Ultramagnetic MC's,
Bauhaus,
Pete Rock & C.L. Smooth,
Throbbing Gristle,
The Alarm Clocks,
48th St. Collective,
Youth Brigade,
Joe Smooth,
Pharaoh Sanders and the Fire Engines,
Soft Machine,
The Sonics,
Suicide,
Fugazi,
Big Daddy Kane,
Althea and Donna,
Scion,
The Standells,
Quando Quango,
Soul II Soul,
Cluster,
Faraquet,
Sparks,
Derrick May,
The Detroit Cobras,
Sound Behaviour,
Bill Near,
Ten City,
Reuben Wilson,
The Cowsills,
Aaron Thompson,
Tubeway Army,
Slave,
Brick,
Gang Green,
Oppenheimer Analysis,
Minnie Riperton,
Harpers Bizarre,
Henry Cow,
Minor Threat,
Camouflage,
Barrington Levy,
The Motions,
Lou Reed & John Cale,
Sight & Sound,
Hot Snakes,
A Certain Ratio,
Lou Reed & Metallica,
The Offenders, The Offenders, The Offenders, The Offenders.
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.