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 Mongolia and from Bologna.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Lyon and Sao Paulo.
I'm losing my edge to the art-school Calgary 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 Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Buzzcocks to the rock kids.
I played it at the Crocodile.
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 Sonic Youth. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Eurythmics,
T. Rex,
Aloha Tigers,
Royal Trux,
Quantec,
Gil Scott Heron,
Depeche Mode,
Main Source,
Deadbeat,
Dorothy Ashby,
David McCallum,
Buzzcocks,
Vainqueur,
Eve St. Jones,
Suburban Knight,
The Litter,
Massinfluence,
Visage,
Pet Shop Boys,
Smog,
Frankie Knuckles,
Steve Hackett,
The Monochrome Set,
Sam Rivers,
Black Bananas,
Dennis Brown,
Danielle Patucci,
The Smiths,
Avey Tare & Kría Brekkan,
Tom Boy,
Mandrill,
Skaos,
Don Cherry,
Lou Reed & Metallica,
Gerry Rafferty,
Chris & Cosey,
The Seeds,
Röyhkä ja Rättö ja Lehtisalo,
Sun Ra,
James White and The Blacks,
Teenage Jesus and the Jerks,
Kevin Saunderson,
Dawn Penn,
Manfred Mann's Earth Band,
Procol Harum,
Clear Light,
ABBA,
Public Enemy,
Gang Green,
Joyce Sims,
Aswad,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Babytalk,
Big Daddy Kane,
Grandmaster Flash and the Furious Five,
Angels of Light & Akron/Family,
Accadde A,
K-Klass,
The Cure,
Sandy B,
ABC,
The Fall, The Fall, The Fall, The Fall.
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.