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 Norway and from Tehran.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Bologna and Mexico City.
I'm losing my edge to the art-school Winnipeg 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the güiro 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 Joe Smooth to the crunk kids.
I played it at the Hacienda.
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 Roy Ayers. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal grunge 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 harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Deepchord,
Art Ensemble Of Chicago,
DNA,
Barry Ungar,
The Stooges,
Soft Machine,
X-101,
T.S.O.L.,
Lee Hazlewood,
Ultramagnetic MC's,
A Flock of Seagulls,
Robert Hood,
Be Bop Deluxe,
Essential Logic,
The Selecter,
Easy Going,
David McCallum,
Nils Olav,
Sister Nancy,
Clear Light,
Thee Headcoats,
The Evens,
Ash Ra Tempel,
Henry Cow,
The Mummies,
The J.B.'s,
Danielle Patucci,
Oblivians,
Hasil Adkins,
Television,
Deutsch Amerikanische Freundschaft,
Siglo XX,
Second Layer,
Intrusion,
The Leaves,
Teenage Jesus and the Jerks,
Black Flag,
Strawberry Alarm Clock,
Audionom,
World's Most,
Ituana,
The Angels of Light,
The Wake,
Eric Copeland,
The West Coast Pop Art Experimental Band,
Funkadelic,
Juan Atkins,
Bizarre Inc.,
Electric Light Orchestra,
Max Romeo,
The Blackbyrds,
Yusef Lateef,
Mars,
Barclay James Harvest,
Dark Day,
the Human League,
The Black Dice,
The Barracudas,
Big Daddy Kane,
Matthew Bourne,
Traffic Nightmare,
Goldenarms,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.