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 Finland and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Winnipeg and London.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Mark Hollis to the jazz kids.
I played it at the 40 Watt.
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 Main Source. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Tommy Roe record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Trumans Water,
Bizarre Inc.,
Cal Tjader,
Drexciya,
Stetsasonic,
Tim Buckley,
Sun Ra Arkestra,
Arthur Verocai,
Newcleus,
Bill Wells,
The Grass Roots,
Bang on a Can All-Stars,
Eric Dolphy,
Wolf Eyes,
Sunsets and Hearts,
New York Dolls,
Notorious Big And Bone Thugs,
Electric Prunes,
Bobby Sherman,
Brass Construction,
Sandy B,
The Index,
Eddi Front,
Easy Going,
Orchestral Manoeuvres in the Dark,
La Düsseldorf,
Bad Manners,
Chrome,
The Fortunes,
Nico,
Siglo XX,
DNA,
OOIOO,
The Toasters,
Eli Mardock,
The Detroit Cobras,
The Blackbyrds,
Rites of Spring,
Fela Kuti,
Barbara Tucker,
Model 500,
The Pop Group,
The Slackers,
Mary Jane Girls,
Interpol,
The Busters,
Cybotron,
Deakin,
Dead Boys,
Cecil Taylor,
Freddie Wadling,
Todd Terry,
Anakelly,
X-102,
Charles Mingus,
The Barracudas,
Jerry Gold Smith,
John Holt,
Man Parrish,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.