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 Congo and from Delhi.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Stockholm.
I'm losing my edge to the art-school Delhi 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 chamberlin 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 Mad Mike to the dance 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 Audionom. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every The Remains 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Terrestrial Tones,
Yaz,
The Neon Judgement,
Cecil Taylor,
MC5,
Robert Hood,
The Slackers,
Unwound,
Man Parrish,
Ornette Coleman,
Leonard Cohen,
The Black Dice,
Barry Ungar,
Bootsy's Rubber Band,
Louis and Bebe Barron,
The Human League,
Yellowson,
Ituana,
Ohio Players,
Bobby Byrd,
Pulsallama,
Roy Ayers,
The Smiths,
The Kinks,
Sister Nancy,
Slave,
Rufus Thomas,
Marvin Gaye,
Eli Mardock,
Rotary Connection,
It's A Beautiful Day,
The Mojo Men,
Alphaville,
Swell Maps,
Unrelated Segments,
Quadrant,
Bob Dylan,
Beasts of Bourbon,
Minutemen,
Mr. Review,
The Associates,
Q65,
Soft Machine,
Larry & the Blue Notes,
Barbara Tucker,
Outsiders,
Kango’s Stein Massive,
the Fania All-Stars,
Aswad,
Blancmange,
Be Bop Deluxe,
Masters at Work,
Scratch Acid,
Pierre Henry,
Icehouse,
the Swans,
Television Personalities,
Siouxsie and the Banshees,
Josef K,
Radiohead,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.