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 Dominican Republic and from Portland.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Sao Paulo.
I'm losing my edge to the art-school Salvador 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the harpsichord 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 David Bowie to the rock kids.
I played it at Cafe Wha.
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 London Community Gospel Choir. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal grime 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 a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Qualms,
Marmalade,
Index,
Robert Hood,
Kings Of Tomorrow,
Terror Squad Feat. Camron,
Bill Wells,
Lonnie Liston Smith,
The Detroit Cobras,
Joe Smooth,
Agent Orange,
Skarface,
Lower 48,
Susan Cadogan,
Moebius,
cv313,
Cecil Taylor,
The United States of America,
Cameo,
Jeru the Damaja,
The Beau Brummels,
Roger Hodgson,
Yaz,
EPMD,
Simply Red,
The Vogues,
Bobby Sherman,
Todd Rundgren,
Skriet,
Cymande,
Notorious BIG live in Amsterdam,
Bang on a Can All-Stars,
Ten City,
The Five Americans,
Television Personalities,
Motorama,
The Dead C,
Boredoms,
Animal Collective,
Arab on Radar,
Mad Mike,
Swans,
Severed Heads,
Rapeman,
Soul Sonic Force,
Grandmaster Flash,
Harry Pussy,
Boogie Down Productions,
Gang Gang Dance,
Parry Music,
The Sisters of Mercy,
Negative Approach,
Big Daddy Kane,
Pagans,
The Monochrome Set,
Bronski Beat,
Röyhkä ja Rättö ja Lehtisalo,
Beasts of Bourbon,
This Heat,
Frankie Knuckles,
Brick,
Ultra Naté,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.