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 Uzbekistan and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Milan and Beijing.
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 arpeggiator 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 Sunsets and Hearts to the crunk kids.
I played it at Trash.
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 Supertramp. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every MC5 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Radiohead,
Warsaw,
the Soft Cell,
The Gladiators,
Notorious BIG live in Amsterdam,
Lungfish,
DNA,
Au Pairs,
Peter and Kerry,
The Flesh Eaters,
Andrew Hill,
Unwound,
The Kinks,
The Golliwogs,
Fear,
Sex Pistols,
Connie Case,
Saccharine Trust,
The Velvet Underground,
Sun Ra,
X-101,
Thee Headcoats,
Pantytec,
Spandau Ballet,
Parry Music,
Davy DMX,
AZ,
Flamin' Groovies,
Bootsy Collins,
The Black Dice,
Crash Course in Science,
Jacob Miller,
Eric Copeland,
Crooked Eye,
John Coltrane,
Brand Nubian,
Jerry Gold Smith,
Sight & Sound,
Echospace,
The Standells,
Echo & the Bunnymen,
Wighnomy Brothers & Robag Wruhme,
Bobby Byrd,
The Leaves,
The Buckinghams,
Nas,
MDC,
Y Pants,
Section 25,
Cabaret Voltaire,
Joensuu 1685,
Ornette Coleman,
Kango’s Stein Massive,
Underground Resistance,
The Mojo Men,
Kauko Röyhkä ja Narttu,
Gong,
JFA,
the Germs,
Vainqueur,
The Monochrome Set,
Lower 48,
Con Funk Shun,
Drexciya, Drexciya, Drexciya, Drexciya.
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.