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 Georgia and from Edmonton.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Milan and Jakarta.
I'm losing my edge to the art-school Philadelphia 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 arpeggiator 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 West Coast Pop Art Experimental Band to the jazz kids.
I played it at the Crocodile.
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 Girls At Our Best!. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal jazz 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your snare and bought a snare.
I hear that you and your band have sold your snare and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scientists,
Carl Craig,
Reagan Youth,
Frankie Knuckles,
The Martian,
The Mojo Men,
Idris Muhammad,
Soft Machine,
Massinfluence,
Siglo XX,
The Standells,
Half Japanese,
The Moleskins,
the Association,
The Royal Family And The Poor,
Jerry Gold Smith,
Gil Scott-Heron & Brian Jackson,
The Moody Blues,
Brass Construction,
ABBA,
The New Christs,
The Raincoats,
The Alarm Clocks,
Cameo,
John Lydon,
Simply Red,
Thee Headcoats,
Flipper,
Monolake,
The Invisible,
Mandrill,
Kango’s Stein Massive,
Unrelated Segments,
Barbara Tucker,
Rites of Spring,
Oneida,
Masters at Work,
Blake Baxter,
Scott Walker,
Dark Day,
Alton Ellis,
Yazoo,
Tropical Tobacco,
Ten City,
Delon & Dalcan,
The Beau Brummels,
Amon Düül,
Matthew Bourne,
Animal Collective,
Stockholm Monsters,
Ultramagnetic MC's,
Chris Corsano,
The Durutti Column,
Deadbeat,
Morten Harket,
The Move,
Super Lover Cee & Casanova Rud,
Neu!,
Joe Smooth,
Pagans,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.