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 Paraguay and from Paris.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Portland and Tokyo.
I'm losing my edge to the art-school Manila 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 Zapp practice in a loft in Hamilton.
I was working on the oboe 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 Jerry Gold Smith to the electroclash 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 Echospace. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Traffic Nightmare,
Sister Nancy,
Lou Reed & Metallica,
Jeff Lynne,
Procol Harum,
Prince Buster,
Brick,
John Holt,
Jeru the Damaja,
Oneida,
Man Parrish,
The Cowsills,
Pussy Galore,
10cc,
Susan Cadogan,
Franke,
Terrestrial Tones,
Godley & Creme,
Skriet,
Basic Channel,
Nick Cave & The Bad Seeds,
Laurel Aitken,
Roger Hodgson,
Bill Wells,
Pete Rock & C.L. Smooth,
Liaisons Dangereuses,
The Neon Judgement,
Alphaville,
The Mojo Men,
The Motions,
Ice-T,
Marshall Jefferson,
Black Flag,
Sight & Sound,
Skaos,
Maleditus Sound,
ABC,
Ken Boothe,
Model 500,
Rosa Yemen,
Andrew Ashong & Theo Parrish,
Sarah Menescal,
Gary Puckett & The Union Gap,
X-101,
Audionom,
Delta 5,
Altered Images,
The Remains,
The Doobie Brothers,
Louis and Bebe Barron,
Grandmaster Flash,
Subhumans,
Captain Beefheart & His Magic Band,
Heaven 17,
Moby Grape,
Oblivians,
Sun Ra Arkestra,
Barry Ungar,
The Divine Comedy,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.