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 Ecuador and from Portland.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Edmonton.
I'm losing my edge to the art-school Taipei 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 organ 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 The Velvet Underground to the crunk kids.
I played it at the Crocodile.
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 Sun City Girls. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every One Last Wish 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
the Slits,
Jeru the Damaja,
Livin' Joy,
Motorama,
PIL,
Black Bananas,
Kerri Chandler,
Warsaw,
Stockholm Monsters,
Outsiders,
Radiopuhelimet,
Godley & Creme,
T.S.O.L.,
De La Soul & Jungle Brothers,
Lafayette Afro Rock Band,
The Mighty Diamonds,
Unwound,
Das Ding,
Animal Collective,
The Grass Roots,
Howard Jones,
The Doobie Brothers,
World's Most,
Glambeats Corp.,
Blake Baxter,
Liliput,
Soft Cell,
Marmalade,
The Music Machine,
Lakeside,
DJ Sneak,
Marc Romboy vs. Booka Shade,
Joensuu 1685,
Main Source,
Pantytec,
Super Lover Cee & Casanova Rud,
The Birthday Party,
The Kinks,
Bobby Hutcherson,
The Wake,
Hasil Adkins,
Arthur Verocai,
Reuben Wilson,
Heavy D & The Boyz,
Isaac Hayes,
John Cale,
Graham Central Station,
Alphaville,
The Monochrome Set,
Ponytail,
Scott Walker,
Kevin Saunderson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Heaven 17,
Sight & Sound,
The Moody Blues,
Don Cherry,
Blossom Toes,
Subhumans,
Saccharine Trust,
Bill Near, Bill Near, Bill Near, Bill Near.
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.