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 Kyrgyzstan and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Bologna and Milan.
I'm losing my edge to the art-school Paris 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 snare 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 Heavy D & The Boyz to the dance kids.
I played it at Trash.
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 Television. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Index 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 '80s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review 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?
Liliput,
Joe Smooth,
Absolute Body Control,
Monolake,
Procol Harum,
Tropical Tobacco,
Susan Cadogan,
The Residents,
Eurythmics,
The Remains,
James Chance & The Contortions,
Johnny Clarke,
Rod Modell,
The Real Kids,
The Dave Clark Five,
Livin' Joy,
The Durutti Column,
Roger Hodgson,
Brand Nubian,
The Associates,
Stockholm Monsters,
Rahsaan Roland Kirk,
David Axelrod,
Arthur Verocai,
June of 44,
Depeche Mode,
Sixth Finger,
Anakelly,
James White and The Blacks,
Robert Görl,
Brass Construction,
Hasil Adkins,
Lakeside,
the Bar-Kays,
Juan Atkins,
Todd Rundgren,
Unwound,
Symarip,
The Shadows of Knight,
Brothers Johnson,
Panda Bear,
Simply Red,
Barry Ungar,
Chris & Cosey,
the Human League,
Oblivians,
Arcadia,
Popol Vuh,
DNA,
kango's stein massive,
The Vogues,
Hot Snakes,
The American Breed,
The Grass Roots,
Johnny Osbourne,
The Move,
Erykah Badu,
The Seeds,
Rotary Connection,
Gang Starr,
Spandau Ballet,
Robert Hood,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.