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 Kiribati and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Lyon and Beijing.
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 spring reverb 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 Barry Ungar to the funk kids.
I played it at the Roxy.
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 Super Lover Cee & Casanova Rud. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a ABC record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
Crash Course in Science,
Soft Cell,
Chris & Cosey,
Chris Corsano,
Bob Dylan,
The Velvet Underground,
Faraquet,
the Sonics,
Jacob Miller,
ABC,
Warsaw,
Jesper Dahlback,
Sad Lovers and Giants,
Easy Going,
The Fire Engines,
Japan,
Pet Shop Boys,
Buzzcocks,
Bobby Womack,
Warren Ellis,
the Human League,
B.T. Express,
Crime,
Zero Boys,
Tres Demented,
Swell Maps,
John Lydon,
Grauzone,
Darondo,
Rapeman,
Robert Hood,
Roxy Music,
The Beau Brummels,
Magazine,
Swans,
Stereo Dub,
James Chance & The Contortions,
Sugar Minott,
The Tremeloes,
The American Breed,
Radio Birdman,
New Age Steppers,
The Last Poets,
Liaisons Dangereuses,
Marshall Jefferson,
Todd Rundgren,
Donald Byrd,
The Cramps,
Dark Day,
June of 44,
Brothers Johnson,
Deutsch Amerikanische Freundschaft,
Isaac Hayes,
the Association,
The Associates,
Barry Ungar,
Matthew Bourne,
Fluxion,
Arab on Radar,
Section 25,
Quando Quango,
Marcia Griffiths,
Mo-Dettes,
Niagra, Niagra, Niagra, Niagra.
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.