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 Barbados and from Spokane.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Accra.
I'm losing my edge to the art-school Seoul 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 Feelies practice in a loft in Haledon.
I was working on the mellotron 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 Model 500 to the funk 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 Can. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Wings,
Man Eating Sloth,
Wally Richardson,
Faust,
Young Marble Giants,
Khruangbin,
Stetsasonic,
Roy Ayers,
JFA,
Hashim,
Public Image Ltd.,
Nico,
Don Cherry,
Lucky Dragons,
The Motions,
Graham Central Station,
Skarface,
Absolute Body Control,
Dennis Brown,
Smog,
Second Layer,
Sly & The Family Stone,
the Association,
The Skatalites,
X-102,
Amazonics,
Porter Ricks,
Minutemen,
Erasure,
Yellowson,
The Gladiators,
Gregory Isaacs,
X-Ray Spex,
Guru Guru,
Bobby Byrd,
The Real Kids,
Cabaret Voltaire,
Tropical Tobacco,
Bang on a Can All-Stars,
Crispy Ambulance,
Bang On A Can,
The Men They Couldn't Hang,
Deadbeat,
Deutsch Amerikanische Freundschaft,
The New Christs,
Swell Maps,
Joe Finger,
Country Teasers,
Heavy D & The Boyz,
Technova,
Kings Of Tomorrow,
Soft Machine,
The Cosmic Jokers,
Kool G Rap & DJ Polo,
Quadrant,
Kevin Saunderson,
Motorama,
Mary Jane Girls,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.