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 Belarus and from London.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Portland.
I'm losing my edge to the art-school Beijing 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 organ 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 Moss Icon to the crunk kids.
I played it at the Spitz.
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 Unrelated Segments. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every Rotary Connection 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Joey Negro,
Johnny Osbourne,
Camouflage,
Grandmaster Flash and the Furious Five,
Max Romeo,
Gang Green,
Morten Harket,
Tubeway Army,
The Searchers,
The Flesh Eaters,
Roy Ayers,
T.S.O.L.,
Fluxion,
Juan Atkins,
The Dave Clark Five,
Mary Jane Girls,
Electric Light Orchestra,
Wasted Youth,
Kayak,
Minnie Riperton,
New Age Steppers,
Bang on a Can All-Stars,
Wolf Eyes,
Kerrie Biddell,
The Fugs,
Nils Olav,
Scion,
Lou Reed,
Angry Samoans,
The Music Machine,
Lizzy Mercier Descloux,
Be Bop Deluxe,
The Human League,
Brand Nubian,
Reagan Youth,
Swans,
Sandy B,
Bizarre Inc.,
Fifty Foot Hose,
The Young Rascals,
The Raincoats,
The Remains,
Pharoah Sanders,
Circle Jerks,
Kurtis Blow,
Bauhaus,
Con Funk Shun,
Buzzcocks,
Pagans,
Pylon,
Rhythim Is Rhythim,
Ronan,
Massinfluence,
Faust,
the Slits,
Crispian St. Peters,
Freddie Wadling,
Country Teasers,
Connie Case,
The Monks,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.