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 Venezuela and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Stockholm.
I'm losing my edge to the art-school Calgary 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 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 Vaughan Mason & Crew to the crunk kids.
I played it at the Crocodile.
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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All Sam Rivers 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 jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Jerry's Kids record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Connie Case,
The Doobie Brothers,
Laurel Aitken,
Stockholm Monsters,
Grandmaster Flash,
The Dead C,
B.T. Express,
Anakelly,
Oneida,
Stiv Bators,
Heavy D & The Boyz,
the Association,
Minnie Riperton,
The Mojo Men,
The Fire Engines,
Basic Channel,
Flipper,
Sällskapet,
Sound Behaviour,
kango's stein massive,
Röyhkä ja Rättö ja Lehtisalo,
The Fuzztones,
Qualms,
Magma,
Terrestrial Tones,
The Happenings,
Heaven 17,
Kurtis Blow,
Japan,
Bobby Womack,
Scott Walker,
June Days,
Bootsy Collins,
Swans,
Agent Orange,
The Blackbyrds,
Marvin Gaye,
Buzzcocks,
KRS-One,
Matthew Bourne,
Unwound,
Pussy Galore,
Bang on a Can All-Stars,
Rhythm & Sound,
Pharaoh Sanders and the Fire Engines,
Saccharine Trust,
Au Pairs,
David Bowie,
Joe Finger,
Man Parrish,
MDC,
Strawberry Alarm Clock,
X-102,
The Knickerbockers,
Crime,
Orchestral Manoeuvres in the Dark,
Howard Jones,
The J.B.'s,
Aaron Thompson,
Arab on Radar,
Super Lover Cee & Casanova Rud,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.