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 Philippines and from Shanghai.
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 1962 to 1973.
I'm losing my edge.
To all the kids in London and Edmonton.
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 marimba 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 Bootsy Collins to the punk kids.
I played it at the 40 Watt.
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 Anthony Braxton. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Eric Dolphy 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Eric B and Rakim,
The Standells,
Sly & The Family Stone,
John Holt,
Letta Mbulu,
UT,
Adolescents,
Wighnomy Brothers & Robag Wruhme,
X-101,
London Community Gospel Choir,
B.T. Express,
Stockholm Monsters,
The Moody Blues,
The Fuzztones,
Crash Course in Science,
Jimmy McGriff,
Depeche Mode,
Easy Going,
Nick Fraelich,
Lebanon Hanover,
Porter Ricks,
The J.B.'s,
Johnny Clarke,
Sarah Menescal,
Leonard Cohen,
The Walker Brothers,
Pulsallama,
Scientists,
Peter Gordon & Love of Life Orchestra,
Mark Hollis,
Nation of Ulysses,
Siglo XX,
the Human League,
Lyres,
48th St. Collective,
Crime,
Barclay James Harvest,
Deepchord,
Man Eating Sloth,
Albert Ayler,
Tres Demented,
Procol Harum,
Avey Tare's Slasher Flicks,
Grey Daturas,
Eric Copeland,
Bobby Womack,
The Divine Comedy,
The Electric Prunes,
Massinfluence,
Sun Ra Arkestra,
Kool Moe Dee,
Visage,
Laurel Aitken,
Deutsch Amerikanische Freundschaft,
DJ Style,
The Mighty Diamonds,
Sunsets and Hearts,
Jacob Miller,
Gang Gang Dance,
The Cramps, The Cramps, The Cramps, The Cramps.
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.