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 Nicaragua and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1978.
I'm losing my edge.
To all the kids in Halifax and New York.
I'm losing my edge to the art-school Stockholm 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 mellotron sounds with much patience.
I was there when David Bowie 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 Mars 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 Absolute Body Control. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Eli Mardock 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Smog,
China Crisis,
The Leaves,
cv313,
Index,
Neil Young & Crazy Horse,
Notorious BIG live in Amsterdam,
Fort Wilson Riot,
Camouflage,
Intrusion,
Audionom,
The Barracudas,
Rhythm & Sound,
Fifty Foot Hose,
Kaleidoscope,
Ultra Naté,
Nick Fraelich,
Reuben Wilson,
Althea and Donna,
Fugazi,
Motorama,
Grandmaster Flash and the Furious Five,
Skriet,
Funky Four + One,
Average White Band,
Johnny Osbourne,
Manfred Mann's Earth Band,
Half Japanese,
The Real Kids,
A Certain Ratio,
Pylon,
Terry Callier,
Orchestral Manoeuvres in the Dark,
Lucky Dragons,
Eden Ahbez,
ABBA,
Dawn Penn,
CMW,
Lonnie Liston Smith,
Tom Boy,
Zero Boys,
The Star Department,
Liliput,
Graham Central Station,
Todd Rundgren,
Iggy Pop,
The Walker Brothers,
T.S.O.L.,
The Busters,
Fad Gadget,
Electric Prunes,
Vladislav Delay,
Unrelated Segments,
Cameo,
The Alarm Clocks,
The Young Rascals,
Boz Scaggs,
James White and The Blacks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Throbbing Gristle,
The United States of America,
Jeff Mills,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.