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 Rwanda and from Woodstock.
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 1974.
I'm losing my edge.
To all the kids in Halifax and Shanghai.
I'm losing my edge to the art-school Portland 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 1976 at the first Chic practice in a loft in New York.
I was working on the organ 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 Cluster to the crunk kids.
I played it at the Troubador.
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 Skarface. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Notorious BIG live in Amsterdam,
Cybotron,
Cluster,
Lower 48,
the Bar-Kays,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Dual Sessions,
Marcia Griffiths,
Newcleus,
Althea and Donna,
CMW,
Radiopuhelimet,
The Offenders,
Nirvana,
Essential Logic,
Altered Images,
Sun Ra,
Eve St. Jones,
Neil Young & Crazy Horse,
Aswad,
UT,
Stockholm Monsters,
Second Layer,
Saccharine Trust,
Erasure,
James Chance & The Contortions,
D'Angelo,
Supertramp,
Derrick Morgan,
Crooked Eye,
Leonard Cohen,
Scan 7,
Eric Dolphy,
Cameo,
Lakeside,
Skaos,
Janne Schatter,
Camberwell Now,
Fifty Foot Hose,
The Fugs,
Spandau Ballet,
Hashim,
Subhumans,
Ultimate Spinach,
T. Rex,
Barry Ungar,
Minnie Riperton,
Chrome,
Jacques Brel,
John Foxx,
The Smoke,
OOIOO,
Grandmaster Flash and the Furious Five,
48th St. Collective,
Absolute Body Control,
Procol Harum,
Kango’s Stein Massive,
Bang on a Can All-Stars,
Severed Heads,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.