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 Azerbaijan and from Madrid.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Seoul and Madrid.
I'm losing my edge to the art-school Sao Paulo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Ajijia Myrayebe to the techno kids.
I played it at Trash.
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 Gian Franco Pienzio. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal grime 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 marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Funky Four + One record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
R.M.O.,
The Chocolate Watch Band,
Patti Smith,
Dr. Dre and Snoop Doggy Dog,
Leonard Cohen,
The Jesus and Mary Chain,
Bang On A Can,
Supertramp,
Eurythmics,
Minor Threat,
Lou Christie,
The Modern Lovers,
Essential Logic,
John Foxx,
In Retrospect,
These Immortal Souls,
Minnie Riperton,
Nils Olav,
Young Marble Giants,
the Soft Cell,
Gary Puckett & The Union Gap,
Gregory Isaacs,
Manfred Mann's Earth Band,
Danielle Patucci,
Lindisfarne,
Traffic Nightmare,
Black Bananas,
Unwound,
Cybotron,
The Blues Magoos,
Erykah Badu,
MDC,
Tim Buckley,
Marmalade,
The Slits,
Main Source,
Drive Like Jehu,
Visage,
Donny Hathaway,
The Selecter,
Gil Scott-Heron & Brian Jackson,
Public Image Ltd.,
The Raincoats,
The Misunderstood,
DJ Style,
X-102,
The Mojo Men,
Roxy Music,
Wire,
Kool G Rap & DJ Polo,
Gian Franco Pienzio,
The Fuzztones,
Stockholm Monsters,
Masters at Work,
Flipper,
The Vogues,
Crooked Eye,
UT,
The Sonics,
Avey Tare,
The Birthday Party,
Cluster, Cluster, Cluster, Cluster.
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.