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 Brazil and from Portland.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Houston and Delhi.
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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin 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 Electric Light Orchestra to the punk kids.
I played it at the Troubador.
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 Henry Cow. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Brothers Johnson 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 '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ossler 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?
Mandrill,
CMW,
D'Angelo,
Sun City Girls,
Urselle,
Todd Terry,
Crispy Ambulance,
The Selecter,
The Knickerbockers,
Michelle Simonal,
Skriet,
Hot Snakes,
Kerri Chandler,
Richard Hell and the Voidoids,
Los Fastidios,
DJ Sneak,
The Misunderstood,
Big Daddy Kane,
The Gladiators,
Judy Mowatt,
Barbara Tucker,
Soul Sonic Force,
Cymande,
Joensuu 1685,
Scrapy,
Notorious Big And Bone Thugs,
Soulsonic Force,
Sly & The Family Stone,
Minutemen,
Tubeway Army,
Lower 48,
Wasted Youth,
Pole,
Chrome,
Terror Squad Feat. Camron,
The Tremeloes,
The Count Five,
Black Pus,
Mr. Review,
Joy Division,
The Offenders,
Nation of Ulysses,
The Music Machine,
The Monochrome Set,
Sam Rivers,
The Beau Brummels,
Crooked Eye,
Shoche,
Public Image Ltd.,
Severed Heads,
Quando Quango,
Terry Callier,
Harmonia,
World's Most,
The Men They Couldn't Hang,
Trumans Water,
Camron Feat. Memphis Bleek And Beenie Seigel,
Janne Schatter,
The Raincoats,
Easy Going,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.