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 Eritrea and from Winnipeg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1974.
I'm losing my edge.
To all the kids in Bologna and Columbus.
I'm losing my edge to the art-school Calgary 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Beasts of Bourbon to the dance kids.
I played it at the Astoria.
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 Niagra. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
the Soft Cell,
the Germs,
Kevin Saunderson,
Eli Mardock,
Angry Samoans,
John Coltrane,
Alton Ellis,
Negative Approach,
Harpers Bizarre,
Scott Walker + Sunn O))),
Bootsy Collins,
Sun Ra,
The Cowsills,
Black Bananas,
Hashim,
The Happenings,
Nick Cave & The Bad Seeds,
The Dave Clark Five,
Television,
Grandmaster Flash and the Furious Five,
Sad Lovers and Giants,
Country Teasers,
Pantaleimon,
The Standells,
Pete Rock & C.L. Smooth,
Roy Ayers Ubiquity,
Steve Hackett,
Sly & The Family Stone,
Bobby Sherman,
Joy Division,
Frankie Knuckles,
The Move,
Howard Jones,
Smog,
Wings,
Quando Quango,
Lou Reed & John Cale,
Sound Behaviour,
the Sonics,
Roxette,
The Tremeloes,
Matthew Halsall,
UT,
Suicide,
Althea and Donna,
Vainqueur,
Von Mondo,
The Neon Judgement,
The Associates,
Motorama,
Theoretical Girls,
Heaven 17,
Alison Limerick,
ABC,
The Young Rascals,
AZ,
Easy Going,
Bronski Beat,
A Certain Ratio,
Oneida,
LL Cool J,
Lalann, Lalann, Lalann, Lalann.
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.