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 Germany and from London.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Toronto and Bologna.
I'm losing my edge to the art-school Jakarta 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 chamberlin 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 Boogie Down Productions to the crunk kids.
I played it at the Roxy.
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 Liaisons Dangereuses. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
Matthew Halsall,
Anthony Braxton,
The Slackers,
Kerri Chandler,
Drexciya,
The Music Machine,
Visionaries,LMNO, T- Love & Iriscience,
Gang of Four,
Maleditus Sound,
Aural Exciters,
Ice-T,
Crime,
Pharaoh Sanders and the Fire Engines,
Joe Finger,
Shuggie Otis,
The Chocolate Watch Band,
Rekid,
Byron Stingily,
Stetsasonic,
a-ha,
The Red Krayola,
Godley & Creme,
Ralphi Rosario,
Avey Tare & Kría Brekkan,
Scan 7,
Pussy Galore,
Motorama,
The Sound,
Wings,
Aloha Tigers,
Andrew Hill,
Nils Olav,
Suburban Knight,
Bobby Byrd,
Art Ensemble Of Chicago,
The Slits,
Gary Puckett & The Union Gap,
Strawberry Alarm Clock,
L. Decosne,
Model 500,
Scratch Acid,
Bauhaus,
Schoolly D,
Zapp,
Angry Samoans,
Oneida,
Yazoo,
The Moody Blues,
The Fuzztones,
Pole,
Gil Scott Heron,
Boogie Down Productions,
Sexual Harrassment,
Mad Mike,
Lungfish,
The Wake,
Joey Negro,
Brand Nubian,
the Germs,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.