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 Belize and from Columbus.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Toronto 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Grass Roots to the techno 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 Reuben Wilson. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every The Move 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
The Last Poets,
The Motions,
Sam Rivers,
Crooked Eye,
Deakin,
The Fortunes,
Kango’s Stein Massive,
The Dirtbombs,
Yaz,
Dark Day,
a-ha,
Idris Muhammad,
Black Flag,
Funky Four + One,
Wally Richardson,
Main Source,
Pierre Henry,
The Grass Roots,
The Detroit Cobras,
The Cosmic Jokers,
Saccharine Trust,
Magma,
the Bar-Kays,
Isaac Hayes,
The Move,
Suburban Knight,
The Cure,
The Smiths,
The Stooges,
Jeff Lynne,
Orchestral Manoeuvres in the Dark,
Derrick May,
Rahsaan Roland Kirk,
Tubeway Army,
Nas,
The Real Kids,
The Alarm Clocks,
Ajijia Myrayebe,
Faust,
kango's stein massive,
Fugazi,
Neil Young,
Ralphi Rosario,
Wire,
The Neon Judgement,
Lonnie Liston Smith,
Bob Dylan,
Prince Buster,
The Offenders,
Rufus Thomas,
E-Dancer,
Gang of Four,
Circle Jerks,
Hashim,
the Normal,
Nation of Ulysses,
Deadbeat,
The Residents,
Dr. Dre and Snoop Doggy Dog,
Lizzy Mercier Descloux,
Beasts of Bourbon,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.