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 Brunei and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1961 to 1979.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Milan 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 spring reverb 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 John Holt to the punk 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 Simply Red. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every Donny Hathaway record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Drive Like Jehu,
Sound Behaviour,
Kas Product,
Ossler,
Lou Christie,
Faraquet,
Delta 5,
Tears for Fears,
Supertramp,
Kenny Larkin,
Aloha Tigers,
Black Moon,
Oppenheimer Analysis,
The Barracudas,
Urselle,
Negative Approach,
Liaisons Dangereuses,
The Sound,
The Dave Clark Five,
Cal Tjader,
Loose Ends,
The Five Americans,
Manfred Mann's Earth Band,
the Human League,
Traffic Nightmare,
Faust,
Tomorrow,
Newcleus,
Minor Threat,
The Mojo Men,
David McCallum,
Lalo Schifrin,
Pete Rock & C.L. Smooth,
cv313,
Amazonics,
The Leaves,
The Fuzztones,
Soft Cell,
Ash Ra Tempel,
Josef K,
Roy Ayers Ubiquity,
Marcia Griffiths,
Mr. Review,
Gregory Isaacs,
Television Personalities,
U.S. Maple,
Notorious Big And Bone Thugs,
Steve Hackett,
Dark Day,
Lower 48,
Howard Jones,
Henry Cow,
Con Funk Shun,
Crooked Eye,
Strawberry Alarm Clock,
The Beau Brummels,
OOIOO,
Maleditus Sound,
Jerry's Kids,
Todd Rundgren,
Suburban Knight,
EPMD, EPMD, EPMD, EPMD.
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.