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 Ethiopia and from Mexico City.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Spokane and London.
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 clarinet 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 Michelle Simonal to the jazz 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 Wasted Youth. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Bush Tetras 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 an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Althea and Donna,
Rosa Yemen,
Kauko Röyhkä ja Narttu,
Sarah Menescal,
The Victims,
Gerry Rafferty,
Thompson Twins,
Icehouse,
Supertramp,
Ronan,
Heavy D & The Boyz,
Byron Stingily,
Peter Gordon & Love of Life Orchestra,
Barclay James Harvest,
Art Ensemble Of Chicago,
Slave,
Simply Red,
The New Christs,
Stetsasonic,
Radiopuhelimet,
U.S. Maple,
Crime,
Severed Heads,
The Doobie Brothers,
The Birthday Party,
Avey Tare & Kría Brekkan,
10cc,
Echo & the Bunnymen,
The Techniques,
Bobby Sherman,
Liliput,
Pantytec,
Bootsy Collins,
Nation of Ulysses,
Television Personalities,
Loose Ends,
Rahsaan Roland Kirk,
Neil Young,
Flash Fearless,
Pagans,
The Knickerbockers,
Eric B and Rakim,
The Cure,
Public Image Ltd.,
Moss Icon,
Justin Hinds & The Dominoes,
The Evens,
Graham Central Station,
PIL,
Camberwell Now,
The Monks,
Siglo XX,
Roy Ayers Ubiquity,
cv313,
Yazoo,
Rod Modell,
The Moleskins,
Bill Wells,
Mars,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.