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 Bangladesh and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1975.
I'm losing my edge.
To all the kids in Cairo and Tehran.
I'm losing my edge to the art-school Toronto 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the oboe 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 Black Bananas to the disco kids.
I played it at the Spitz.
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 The Velvet Underground. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Electric Light Orchestra 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 '70s cut and another box set from the '90s.
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 The Monks record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar 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?
The Vogues,
John Coltrane,
La Düsseldorf,
Eve St. Jones,
Boogie Down Productions,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bootsy Collins,
Lafayette Afro Rock Band,
Ajijia Myrayebe,
The Toasters,
Mantronix,
Marine Girls,
Ohio Players,
Von Mondo,
Kenny Larkin,
Barry Ungar,
UT,
Index,
David Axelrod,
Liaisons Dangereuses,
John Holt,
the Bar-Kays,
Gabor Szabo,
Bobby Sherman,
The Dave Clark Five,
The Gun Club,
Kurtis Blow,
Soul II Soul,
Josef K,
David McCallum,
Mark Hollis,
Quando Quango,
The Music Machine,
These Immortal Souls,
Bill Near,
Dead Boys,
AZ,
Icehouse,
Siouxsie and the Banshees,
X-101,
Oppenheimer Analysis,
Alice Coltrane,
Sandy B,
The Moody Blues,
Rhythm & Sound,
Al Stewart,
Terry Callier,
The Sisters of Mercy,
John Foxx,
Avey Tare & Kría Brekkan,
Intrusion,
Minny Pops,
Crooked Eye,
The Dead C,
Flamin' Groovies,
The Golliwogs,
The Sound,
The Grass Roots,
Tommy Roe,
Warsaw,
cv313,
Colin Newman,
Nick Fraelich, Nick Fraelich, Nick Fraelich, Nick Fraelich.
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.