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 Mexico and from Madrid.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Portland.
I'm losing my edge to the art-school Edmonton 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 808 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 T.S.O.L. to the dance 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 Masters at Work. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Simply Red 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Index,
48th St. Collective,
The Golliwogs,
Mars,
The Fall,
Silicon Teens,
Delta 5,
The Trojans,
Boz Scaggs,
Deadbeat,
The Leaves,
The Motions,
The Cramps,
Suicide,
Siouxsie and the Banshees,
Pussy Galore,
The Gap Band,
Connie Case,
Porter Ricks,
Orchestral Manoeuvres in the Dark,
Kauko Röyhkä ja Narttu,
It's A Beautiful Day,
Absolute Body Control,
The Jesus and Mary Chain,
Glambeats Corp.,
Eden Ahbez,
Loose Ends,
Minnie Riperton,
Black Pus,
Simply Red,
Gil Scott-Heron and Jamie xx,
Blake Baxter,
Harpers Bizarre,
Ossler,
Jesper Dahlbäck,
Graham Central Station,
Joe Smooth,
Kool G Rap & DJ Polo,
Model 500,
The West Coast Pop Art Experimental Band,
Roy Ayers Ubiquity,
The Invisible,
The Detroit Cobras,
Infiniti,
Camron Feat. Jay Z And Juelz,
Crime,
Country Teasers,
Gil Scott-Heron & Brian Jackson,
the Bar-Kays,
Erasure,
AZ,
Zapp,
Adolescents,
Gang Starr,
Cabaret Voltaire,
Robert Hood,
Bang on a Can All-Stars,
Babytalk,
Girls At Our Best!,
Teenage Jesus and the Jerks,
The Zeros,
Derrick May,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.