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 Bahrain and from Lille.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Portland and Edmonton.
I'm losing my edge to the art-school Stockholm 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 marimba 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 Fugazi to the crunk kids.
I played it at the Hacienda.
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 Donald Byrd. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 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?
Roy Ayers Ubiquity,
Lou Reed & John Cale,
In Retrospect,
Radiohead,
The Kinks,
Absolute Body Control,
Country Joe & The Fish,
Trumans Water,
Inner City,
James White and The Blacks,
Terrestrial Tones,
Masters at Work,
Harpers Bizarre,
Oppenheimer Analysis,
Eric B and Rakim,
Andrew Hill,
Louis and Bebe Barron,
The Red Krayola,
Kauko Röyhkä ja Narttu,
Johnny Clarke,
Kayak,
Brand Nubian,
Mad Mike,
ABC,
Boogie Down Productions,
The Knickerbockers,
Gil Scott Heron,
Index,
Spoonie Gee,
8 Eyed Spy,
Das Ding,
Sexual Harrassment,
Japan,
Pole,
Hashim,
Can,
The Electric Prunes,
Ultramagnetic MC's,
Cluster,
The Neon Judgement,
Newcleus,
Derrick May,
De La Soul & Jungle Brothers,
The Residents,
The Offenders,
The Fortunes,
Albert Ayler,
Black Moon,
Grauzone,
Lebanon Hanover,
Roxy Music,
Cameo,
Lower 48,
Mantronix,
It's A Beautiful Day,
Joe Smooth,
Jacques Brel,
DeepChord presents Echospace,
The Men They Couldn't Hang,
Country Teasers,
Lalo Schifrin,
Lucky Dragons,
Warsaw, Warsaw, Warsaw, Warsaw.
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.