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 Greece and from Tokyo.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Lyon.
I'm losing my edge to the art-school Tokyo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the clarinet 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 The Dead C to the jazz kids.
I played it at CBGB's.
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 Frankie Knuckles. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Archie Shepp,
The Techniques,
Ice-T,
Black Pus,
Pierre Henry,
Jerry Gold Smith,
Ash Ra Tempel,
Traffic Nightmare,
Fatback Band,
This Heat,
Symarip,
The Last Poets,
CMW,
Eddi Front,
The Electric Prunes,
Black Sheep,
Animal Collective,
Sällskapet,
Moby Grape,
Rites of Spring,
Bob Dylan,
Gastr Del Sol,
Deutsch Amerikanische Freundschaft,
Crime,
Sister Nancy,
Gil Scott-Heron and Jamie xx,
Avey Tare's Slasher Flicks,
Robert Görl,
Lou Reed,
Loose Ends,
The Modern Lovers,
Deepchord,
Newcleus,
Siouxsie and the Banshees,
Second Layer,
Kevin Saunderson,
Big Daddy Kane,
Fort Wilson Riot,
Freddie Wadling,
Absolute Body Control,
The Mummies,
The Durutti Column,
Yellowson,
The Skatalites,
Eric B and Rakim,
Simply Red,
Bobbi Humphrey,
F. McDonald,
Rowland S Howard / Lydia Lunch,
Can,
Grandmaster Flash,
Graham Central Station,
Maleditus Sound,
Be Bop Deluxe,
It's A Beautiful Day,
John Lydon,
Aaron Thompson,
The Trojans,
Clear Light,
Radiohead,
Donald Byrd, Donald Byrd, Donald Byrd, Donald Byrd.
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.