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 Belize and from Woodstock.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
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 oboe 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 Sun City Girls to the rap 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 Ronnie Foster. All the underground hits.
All UT tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Ken Boothe,
The Fall,
Soft Machine,
LL Cool J,
The Wake,
Jandek,
Icehouse,
The Count Five,
Main Source,
Henry Cow,
The Leaves,
The Dave Clark Five,
Y Pants,
Delta 5,
Silicon Teens,
Sun Ra Arkestra,
The Red Krayola,
Scientists,
Sister Nancy,
Brick,
Vainqueur,
Soft Cell,
Ossler,
Spandau Ballet,
The Index,
Laurel Aitken,
L. Decosne,
The Men They Couldn't Hang,
Sad Lovers and Giants,
Ultramagnetic MC's,
Stiv Bators,
Bill Wells,
Grandmaster Flash and the Furious Five,
Brand Nubian,
Derrick Morgan,
Nico,
The Monks,
The Five Americans,
Cluster,
Tommy Roe,
Altered Images,
Tim Buckley,
Fort Wilson Riot,
The Mummies,
Lyres,
The Sound,
Inner City,
Angry Samoans,
Marc Almond,
Crash Course in Science,
Eddi Front,
Kool G Rap & DJ Polo,
Heaven 17,
Carl Craig,
Kango’s Stein Massive,
Arthur Verocai,
Desert Stars,
The Doobie Brothers,
Newcleus,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.