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 Rwanda and from Portland.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Bologna and Beijing.
I'm losing my edge to the art-school Halifax 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 Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Nas to the rock kids.
I played it at the Hacienda.
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 Chris Corsano. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Stereo Dub,
Jesper Dahlback,
Au Pairs,
Jeff Mills,
the Bar-Kays,
Skaos,
The Monks,
Sight & Sound,
Stetsasonic,
Idris Muhammad,
Curtis Mayfield,
Zero Boys,
Deutsch Amerikanische Freundschaft,
The Beau Brummels,
Schoolly D,
Eden Ahbez,
Rites of Spring,
Alison Limerick,
Byron Stingily,
Brand Nubian,
Yellowson,
Johnny Clarke,
The Trojans,
Franke,
Peter and Kerry,
Barrington Levy,
Liaisons Dangereuses,
Gil Scott-Heron & Brian Jackson,
Orchestral Manoeuvres in the Dark,
Fela Kuti,
Black Moon,
Eric B and Rakim,
Amon Düül,
The Modern Lovers,
Sonny Sharrock,
The Mighty Diamonds,
Marshall Jefferson,
Dr. Dre and Snoop Doggy Dog,
Sonic Youth,
Arcadia,
Strawberry Alarm Clock,
The Doobie Brothers,
Cal Tjader,
Smog,
The Associates,
the Slits,
The Golliwogs,
John Holt,
Young Marble Giants,
Camron Feat. Memphis Bleek And Beenie Seigel,
Marmalade,
Avey Tare's Slasher Flicks,
Pole,
Y Pants,
The Invisible,
Agitation Free,
Mandrill,
The Gun Club,
Crooked Eye,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.