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 Haiti and from Manchester.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Calgary and Seoul.
I'm losing my edge to the art-school London 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Lucky Dragons to the grime kids.
I played it at the 40 Watt.
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 Neil Young. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
EPMD,
Gastr Del Sol,
Crispian St. Peters,
The Neon Judgement,
Matthew Halsall,
Altered Images,
Black Flag,
The Fire Engines,
Robert Hood,
New Age Steppers,
Oneida,
The Dirtbombs,
The Victims,
Sister Nancy,
Hasil Adkins,
The Searchers,
Byron Stingily,
Surgeon,
The Raincoats,
Electric Prunes,
New Order,
Pete Rock & C.L. Smooth,
The Moleskins,
Freddie Wadling,
The Last Poets,
Alice Coltrane,
Black Sheep,
London Community Gospel Choir,
Dark Day,
Eden Ahbez,
Radiopuhelimet,
Tim Buckley,
Soft Cell,
Y Pants,
Average White Band,
Malaria!,
It's A Beautiful Day,
Ohio Players,
Delon & Dalcan,
Susan Cadogan,
Wasted Youth,
Joensuu 1685,
Notorious Big And Bone Thugs,
James White and The Blacks,
The Smiths,
Minnie Riperton,
Eric Dolphy,
Das Ding,
Jeff Mills,
Silicon Teens,
Ituana,
Graham Central Station,
Spoonie Gee,
Barry Ungar,
Au Pairs,
Oppenheimer Analysis,
Lalo Schifrin,
Ash Ra Tempel,
Minor Threat,
Zapp,
T. Rex,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.