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 Kenya and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Milan.
I'm losing my edge to the art-school Toronto 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 808 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 Moss Icon to the grunge kids.
I played it at the Roxy.
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 Average White Band. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
DJ Sneak,
Arcadia,
Rod Modell,
Duran Duran,
Ohio Players,
KRS-One,
Suicide,
Marcia Griffiths,
Harpers Bizarre,
The Mummies,
Hasil Adkins,
K-Klass,
Bob Dylan,
Grandmaster Flash,
Sonny Sharrock,
Minor Threat,
Connie Case,
Cecil Taylor,
Eurythmics,
Magma,
Desert Stars,
Mad Mike,
Delta 5,
Gang Green,
Gil Scott Heron,
DeepChord presents Echospace,
Pharaoh Sanders and the Fire Engines,
Lungfish,
Boz Scaggs,
Chrome,
The Star Department,
Andrew Hill,
The Gories,
The Alarm Clocks,
Stockholm Monsters,
Gerry Rafferty,
It's A Beautiful Day,
Crime,
Girls At Our Best!,
Half Japanese,
Banda Bassotti,
Aural Exciters,
Pole,
Toni Rubio,
The Dirtbombs,
Gregory Isaacs,
Ituana,
Supertramp,
Outsiders,
Man Parrish,
Accadde A,
La Düsseldorf,
Pet Shop Boys,
The Invisible,
LL Cool J,
The Cramps,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.