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 Bangladesh and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Calgary and Lille.
I'm losing my edge to the art-school Bremen 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 arpeggiator 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 Pierre Henry to the funk 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 Eli Mardock. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence 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?
Nirvana,
Cheater Slicks,
Soul II Soul,
Red Lorry Yellow Lorry,
Max Romeo,
Lafayette Afro Rock Band,
The Cosmic Jokers,
Deutsch Amerikanische Freundschaft,
Essential Logic,
Agent Orange,
Gang of Four,
Au Pairs,
Harpers Bizarre,
The Monks,
The Dead C,
Saccharine Trust,
Tears for Fears,
U.S. Maple,
Kevin Saunderson,
Kauko Röyhkä ja Narttu,
The Alarm Clocks,
Quadrant,
Mars,
Electric Light Orchestra,
Zapp,
The Royal Family And The Poor,
New York Dolls,
Gil Scott Heron,
Buzzcocks,
DeepChord presents Echospace,
Scott Walker + Sunn O))),
Gichy Dan,
the Soft Cell,
Half Japanese,
Eddi Front,
Avey Tare & Kría Brekkan,
Bob Dylan,
David Bowie,
Al Stewart,
Tubeway Army,
the Slits,
Khruangbin,
Skaos,
Symarip,
Gabor Szabo,
Black Flag,
Skarface,
Boz Scaggs,
Notorious Big And Bone Thugs,
Connie Case,
The Divine Comedy,
Barrington Levy,
Guru Guru,
Japan,
Black Bananas,
The Residents,
Arab on Radar,
Infiniti,
Jesper Dahlbäck,
The Vogues,
Terrestrial Tones,
Black Sheep,
Ronan, Ronan, Ronan, Ronan.
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.