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 Guatemala and from Manila.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Bologna.
I'm losing my edge to the art-school Taipei 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 The Vogues to the punk kids.
I played it at the Roxy.
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 The Barracudas. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Michelle Simonal,
Faraquet,
Lungfish,
Boogie Down Productions,
The Doors,
Rhythm & Sound,
Masters at Work,
Althea and Donna,
Parry Music,
Robert Görl,
Theoretical Girls,
Deepchord,
K-Klass,
Maleditus Sound,
Jandek,
Alison Limerick,
Television,
Mission of Burma,
Angels of Light & Akron/Family,
Moebius,
Adolescents,
Skaos,
Avey Tare & Kría Brekkan,
Man Eating Sloth,
Tears for Fears,
The Searchers,
John Holt,
Gang of Four,
Urselle,
The Monochrome Set,
Gastr Del Sol,
Ken Boothe,
The Tremeloes,
Röyhkä ja Rättö ja Lehtisalo,
Circle Jerks,
Dead Boys,
Ultra Naté,
Peter Gordon & Love of Life Orchestra,
World's Most,
Ten City,
Sixth Finger,
The Residents,
Severed Heads,
Henry Cow,
Alice Coltrane,
Gil Scott-Heron and Jamie xx,
Dorothy Ashby,
Fat Boys,
Erykah Badu,
Bronski Beat,
The Star Department,
Dennis Brown,
Schoolly D,
Marine Girls,
The Knickerbockers,
The Leaves,
Eyeless In Gaza,
Bob Dylan,
Von Mondo,
Matthew Bourne,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.