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 Netherlands and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Taipei and Delhi.
I'm losing my edge to the art-school Toronto 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 1977 at the first Zapp practice in a loft in Hamilton.
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 Selector Dub Narcotic to the rap 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 The Modern Lovers. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Stiv Bators,
Funky Four + One,
The Doors,
Magma,
Kayak,
Gabor Szabo,
Section 25,
Gastr Del Sol,
Con Funk Shun,
DJ Style,
Absolute Body Control,
The Leaves,
Flash Fearless,
Grey Daturas,
The Pop Group,
Josef K,
Camron Feat. Memphis Bleek And Beenie Seigel,
Boogie Down Productions,
Scrapy,
Marc Romboy vs. Booka Shade,
Harmonia,
Barrington Levy,
KRS-One,
Second Layer,
Make Up,
Khruangbin,
Das Ding,
Roy Ayers Ubiquity,
Slick Rick,
The Litter,
Peter & Gordon,
Bluetip,
The Royal Family And The Poor,
Big Daddy Kane,
Sad Lovers and Giants,
EPMD,
Simply Red,
Stockholm Monsters,
The Index,
Metal Thangz,
Pole,
The Names,
Quando Quango,
the Human League,
Tommy Roe,
Circle Jerks,
Connie Case,
Groovy Waters,
Dual Sessions,
Marshall Jefferson,
Delon & Dalcan,
The J.B.'s,
Shoche,
Monks,
Thinking Fellers Union Local 282,
Rufus Thomas,
Procol Harum,
Main Source,
Masters at Work,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.