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 Micronesia and from Houston.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Sao Paulo.
I'm losing my edge to the art-school Taipei 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the arpeggiator 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 Newcleus to the jazz kids.
I played it at the Spitz.
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 Bill Wells. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Kaleidoscope 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 '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Echospace,
Connie Case,
Laurel Aitken,
B.T. Express,
Red Lorry Yellow Lorry,
the Association,
The Gap Band,
London Community Gospel Choir,
Lyres,
Eric Dolphy,
Cluster,
Chris Corsano,
Al Stewart,
Minor Threat,
Shuggie Otis,
Cameo,
Cal Tjader,
Angels of Light & Akron/Family,
Harpers Bizarre,
the Germs,
Aswad,
Das Ding,
The Seeds,
Marcia Griffiths,
Pharoah Sanders,
Joyce Sims,
Essential Logic,
PIL,
Deakin,
FM Einheit,
MDC,
Easy Going,
X-102,
Television Personalities,
Sixth Finger,
Jimmy McGriff,
Audionom,
The Music Machine,
Prince Buster,
Gastr Del Sol,
DeepChord presents Echospace,
Smog,
Chrome,
The Royal Family And The Poor,
Mantronix,
Bobby Sherman,
Flipper,
Organ,
Eli Mardock,
Clear Light,
Barclay James Harvest,
Moebius,
Pharaoh Sanders and the Fire Engines,
Girls At Our Best!,
John Holt,
Rosa Yemen,
Roxy Music,
Sam Rivers,
the Slits,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.