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 Mauritania and from Bremen.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Accra.
I'm losing my edge to the art-school Johannesburg 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 Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Black Bananas to the crunk kids.
I played it at Trash.
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 Cecil Taylor. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Man Parrish,
The Detroit Cobras,
Amon Düül II,
Scan 7,
Fear,
Connie Case,
Cecil Taylor,
Todd Terry,
Chris Corsano,
Ronan,
Theoretical Girls,
Joe Smooth,
ABBA,
Kerri Chandler,
Godley & Creme,
Eric B and Rakim,
Excepter,
Fort Wilson Riot,
The Moleskins,
The Young Rascals,
Crooked Eye,
The Smoke,
The Skatalites,
The Modern Lovers,
The Gories,
Warsaw,
Desert Stars,
Soul II Soul,
Super Lover Cee & Casanova Rud,
Traffic Nightmare,
cv313,
Wasted Youth,
EPMD,
Brass Construction,
The Tremeloes,
Joensuu 1685,
Lalo Schifrin,
The Victims,
Aaron Thompson,
Japan,
KRS-One,
The Fortunes,
OOIOO,
Davy DMX,
The Angels of Light,
Echospace,
DJ Style,
Piero Umiliani,
Monolake,
Y Pants,
Ash Ra Tempel,
Thinking Fellers Union Local 282,
World's Most,
Saccharine Trust,
Idris Muhammad,
Fat Boys,
Judy Mowatt,
Severed Heads,
Supertramp,
Porter Ricks,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.