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 Albania and from Salvador.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Columbus and Halifax.
I'm losing my edge to the art-school Portland 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 güiro 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 DJ Style to the disco kids.
I played it at the Troubador.
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 Ossler. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every Gang Green record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Harry Pussy,
The Cowsills,
Notorious Big And Bone Thugs,
Pole,
The Grass Roots,
The Alarm Clocks,
Pussy Galore,
Derrick Morgan,
Rites of Spring,
Camron Feat. Memphis Bleek And Beenie Seigel,
Beasts of Bourbon,
Barclay James Harvest,
China Crisis,
Gerry Rafferty,
Symarip,
The Sound,
PIL,
Stetsasonic,
Orchestral Manoeuvres in the Dark,
Bobby Hutcherson,
Section 25,
Cameo,
The Dead C,
Barrington Levy,
The Dave Clark Five,
James Chance & The Contortions,
X-Ray Spex,
Donald Byrd,
Adolescents,
Nas,
Joyce Sims,
Selector Dub Narcotic,
Essential Logic,
Maurizio,
the Germs,
Delon & Dalcan,
Hot Snakes,
Parry Music,
Aloha Tigers,
Electric Prunes,
The Misunderstood,
Pharaoh Sanders and the Fire Engines,
The Shadows of Knight,
ABC,
Shuggie Otis,
The Mummies,
The Evens,
Sight & Sound,
In Retrospect,
Television,
Ossler,
Aswad,
Slave,
Eric Dolphy,
Liliput,
Aural Exciters,
Das Ding,
Malaria!,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.