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 Togo and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Portland.
I'm losing my edge to the art-school Edmonton 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 arpeggiator 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 Red Lorry Yellow Lorry to the grime 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 Ohio Players. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a linndrum 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 spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Country Joe & The Fish,
Steve Hackett,
The Names,
Unwound,
Sun Ra Arkestra,
MC5,
The Moody Blues,
Hot Snakes,
Sight & Sound,
Scratch Acid,
Ossler,
Maleditus Sound,
Dorothy Ashby,
Michelle Simonal,
The Toasters,
The Pop Group,
Ralphi Rosario,
Cluster,
Amon Düül,
Accadde A,
Gary Puckett & The Union Gap,
Eden Ahbez,
Jesper Dahlbäck,
Soul II Soul,
The Cramps,
DNA,
Eric Dolphy,
The Cosmic Jokers,
Junior Murvin,
Derrick May,
Sonny Sharrock,
Half Japanese,
Notorious Big And Bone Thugs,
Roy Ayers Ubiquity,
Ohio Players,
Gian Franco Pienzio,
Kayak,
Sad Lovers and Giants,
Radio Birdman,
The Slits,
Dead Boys,
Audionom,
Los Fastidios,
Anakelly,
Bobby Byrd,
T. Rex,
Q65,
Kool Moe Dee,
Idris Muhammad,
Avey Tare & Kría Brekkan,
The Fuzztones,
June Days,
T.S.O.L.,
The Moleskins,
Minny Pops,
Oblivians,
Drive Like Jehu,
Bobby Womack,
B.T. Express,
Mantronix,
Jacob Miller,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.