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 Nicaragua and from Lille.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Bremen and Delhi.
I'm losing my edge to the art-school Manchester 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Zapp to the funk kids.
I played it at CBGB's.
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 Boz Scaggs. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Interpol,
Gang of Four,
Mantronix,
Nation of Ulysses,
The Blackbyrds,
Terrestrial Tones,
Shoche,
the Bar-Kays,
Rites of Spring,
Drive Like Jehu,
Ornette Coleman,
Mo-Dettes,
Silicon Teens,
Judy Mowatt,
Thee Headcoats,
Sonic Youth,
Banda Bassotti,
Lee Hazlewood,
Erasure,
Nick Cave & The Bad Seeds,
Stereo Dub,
Gang Starr,
Infiniti,
Bluetip,
Au Pairs,
Ralphi Rosario,
Wally Richardson,
Lalo Schifrin,
Röyhkä ja Rättö ja Lehtisalo,
Sight & Sound,
the Slits,
Chris Corsano,
CMW,
Lafayette Afro Rock Band,
Sällskapet,
Vaughan Mason & Crew,
Sun Ra Arkestra,
Brothers Johnson,
Carl Craig,
Crime,
Ituana,
Rod Modell,
Q65,
The Human League,
Lakeside,
Art Ensemble Of Chicago,
Camron Feat. Jay Z And Juelz,
John Holt,
Kauko Röyhkä ja Narttu,
Teenage Jesus and the Jerks,
Ultimate Spinach,
Arcadia,
Traffic Nightmare,
The Fall,
Sister Nancy,
The Stooges,
Tears for Fears,
Siglo XX,
The Electric Prunes,
Barclay James Harvest,
Sad Lovers and Giants,
Spandau Ballet,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.