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 Nicaragua and from Salvador.
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 1974.
I'm losing my edge.
To all the kids in Houston and Jakarta.
I'm losing my edge to the art-school Mexico City 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Andrew Hill 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 Arcadia. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal rap 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 a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Can,
Underground Resistance,
Oblivians,
Joe Finger,
Gichy Dan,
The J.B.'s,
The Sound,
Howard Jones,
Nils Olav,
Saccharine Trust,
Ossler,
Pulsallama,
Piero Umiliani,
Soulsonic Force,
Jacques Brel,
Bad Manners,
Simply Red,
Bauhaus,
Grandmaster Flash,
Junior Murvin,
Man Parrish,
Mantronix,
Marvin Gaye,
Pere Ubu,
Groovy Waters,
June Days,
Lucky Dragons,
Supertramp,
Siglo XX,
Tears for Fears,
Shuggie Otis,
Rakim,
Intrusion,
Joe Smooth,
Brass Construction,
Robert Görl,
Dark Day,
The Standells,
The Litter,
Gregory Isaacs,
Crime,
Crispian St. Peters,
Fort Wilson Riot,
Man Eating Sloth,
The Fire Engines,
Television Personalities,
James Chance & The Contortions,
Eric Dolphy,
Sun Ra,
Crispy Ambulance,
Ten City,
Aural Exciters,
Richard Hell and the Voidoids,
Sticky Fingaz feat. Raekwon,
X-102,
Mission of Burma,
F. McDonald,
Subhumans,
The Monochrome Set,
Charles Mingus,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.