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 Georgia and from Jakarta.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Columbus and Hong Kong.
I'm losing my edge to the art-school Lyon 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Mummies to the jazz kids.
I played it at the Astoria.
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 Gang of Four. All the underground hits.
All JFA tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal electroclash 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 a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lungfish,
Pole,
Slave,
Boz Scaggs,
Desert Stars,
Minny Pops,
Japan,
Bootsy Collins,
Neil Young & Crazy Horse,
Lightning Bolt,
Rapeman,
Lee Hazlewood,
Marine Girls,
The Stooges,
Rowland S Howard / Lydia Lunch,
The Dead C,
The Seeds,
Man Eating Sloth,
Thee Headcoats,
In Retrospect,
Orchestral Manoeuvres in the Dark,
The Martian,
Harry Pussy,
The Jesus and Mary Chain,
Hoover,
Kurtis Blow,
The Fire Engines,
Con Funk Shun,
James Chance & The Contortions,
Agitation Free,
Ajijia Myrayebe,
Peter Gordon & Love of Life Orchestra,
Cheater Slicks,
Sun Ra Arkestra,
Altered Images,
Section 25,
Kerri Chandler,
Donald Byrd,
Massinfluence,
The Blackbyrds,
Spandau Ballet,
Bang on a Can All-Stars,
Ultra Naté,
The Searchers,
Donny Hathaway,
The Monochrome Set,
Theoretical Girls,
Aaron Thompson,
The Index,
Oneida,
The Alarm Clocks,
The Happenings,
Essential Logic,
Liaisons Dangereuses,
Jacques Brel,
Animal Collective,
These Immortal Souls,
Amazonics,
Ultramagnetic MC's,
Lebanon Hanover,
Malaria!,
Scott Walker,
Clear Light,
Sandy B, Sandy B, Sandy B, Sandy B.
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.