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 Shanghai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Manchester.
I'm losing my edge to the art-school Hong Kong 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Ponytail to the rock 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 Archie Shepp. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Barbara Tucker,
A Certain Ratio,
OOIOO,
Kurtis Blow,
Marc Romboy vs. Booka Shade,
New Order,
Roy Ayers,
Spandau Ballet,
James White and The Blacks,
Rhythm & Sound,
Gabor Szabo,
Sarah Menescal,
The Tremeloes,
Sly & The Family Stone,
Pole,
Wire,
Fear,
Deutsch Amerikanische Freundschaft,
The Gladiators,
Eric B and Rakim,
Jesper Dahlbäck,
Nas,
The Last Poets,
Outsiders,
The Buckinghams,
Moby Grape,
Los Fastidios,
T. Rex,
Roxy Music,
X-102,
Zapp,
Funkadelic,
Aural Exciters,
Kool Moe Dee,
Ultra Naté,
The Doors,
Henry Cow,
The Moody Blues,
Scion,
Röyhkä ja Rättö ja Lehtisalo,
The Sound,
Arthur Verocai,
Loose Ends,
Soft Machine,
Anakelly,
Traffic Nightmare,
The Real Kids,
Brand Nubian,
Underground Resistance,
The New Christs,
Eyeless In Gaza,
Ultramagnetic MC's,
Louis and Bebe Barron,
Yusef Lateef,
Scrapy,
Soul II Soul,
Bobby Sherman,
The Count Five,
This Heat,
Boogie Down Productions,
Japan, Japan, Japan, Japan.
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.