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 Cape Verde and from Salvador.
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 1976.
I'm losing my edge.
To all the kids in Cairo and Johannesburg.
I'm losing my edge to the art-school Salvador 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 harpsichord 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 Outsiders to the jazz kids.
I played it at the Astoria.
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 Terry Callier. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Bobby Byrd record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Motorama,
KRS-One,
Juan Atkins,
The Barracudas,
Interpol,
James Chance & The Contortions,
Make Up,
Matthew Halsall,
Chris Corsano,
Bill Near,
Tubeway Army,
Eric Dolphy,
Morten Harket,
Pulsallama,
Scratch Acid,
Little Man,
Crooked Eye,
Howard Jones,
Clear Light,
10cc,
the Fania All-Stars,
Agent Orange,
Minutemen,
Pagans,
Freddie Wadling,
The Monochrome Set,
Talk Talk,
Barrington Levy,
Lakeside,
Minnie Riperton,
Q and Not U,
Thee Headcoats,
Negative Approach,
The Peanut Butter Conspiracy,
It's A Beautiful Day,
Nick Fraelich,
Oneida,
Brand Nubian,
Aaron Thompson,
Harmonia,
Pete Rock & C.L. Smooth,
Heaven 17,
Soft Machine,
Curtis Mayfield,
Television,
Flash Fearless,
Sight & Sound,
De La Soul & Jungle Brothers,
Sister Nancy,
Peter and Kerry,
Gang Gang Dance,
The Pop Group,
New Order,
Red Lorry Yellow Lorry,
Kerrie Biddell,
MDC,
Bobby Womack,
X-102,
The Smiths,
Anthony Braxton,
Fifty Foot Hose,
Connie Case, Connie Case, Connie Case, Connie Case.
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.