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 Comoros and from Paris.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Spokane.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Andrew Hill to the techno 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 Stetsasonic. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
The West Coast Pop Art Experimental Band,
48th St. Collective,
Wolf Eyes,
Maurizio,
Maleditus Sound,
JFA,
T.S.O.L.,
The Walker Brothers,
Nils Olav,
Alphaville,
Barry Ungar,
Joyce Sims,
Sun Ra Arkestra,
Depeche Mode,
Gabor Szabo,
Joe Smooth,
the Slits,
The Evens,
Soulsonic Force,
Justin Hinds & The Dominoes,
Wally Richardson,
The Gladiators,
The Tremeloes,
Rapeman,
Tommy Roe,
FM Einheit,
Vaughan Mason & Crew,
Byron Stingily,
Archie Shepp,
Absolute Body Control,
The J.B.'s,
Moss Icon,
LL Cool J,
Gong,
The Fall,
Can,
Boogie Down Productions,
Drive Like Jehu,
Icehouse,
Jandek,
Dr. Dre and Snoop Doggy Dog,
Jacob Miller,
The Toasters,
Man Eating Sloth,
The Zeros,
Colin Newman,
The Dead C,
Derrick May,
Visage,
Severed Heads,
Siouxsie and the Banshees,
UT,
Electric Light Orchestra,
OOIOO,
Peter Gordon & Love of Life Orchestra,
Desert Stars,
Cheater Slicks,
Qualms,
Tim Buckley,
Parry Music,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.