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 Cuba and from Tehran.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Bremen and Edmonton.
I'm losing my edge to the art-school Bologna 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 marimba 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 Nico to the disco 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 Depeche Mode. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Cymande,
Moebius,
Johnny Clarke,
Sarah Menescal,
David McCallum,
Ituana,
Hoover,
Soft Cell,
The Smoke,
Soul Sonic Force,
Josef K,
James Chance & The Contortions,
The Doors,
Sight & Sound,
cv313,
Gang Green,
The Cowsills,
Marvin Gaye,
Clear Light,
Bob Dylan,
China Crisis,
Selector Dub Narcotic,
Oblivians,
Public Image Ltd.,
Todd Rundgren,
Roxy Music,
Eric Copeland,
X-101,
Marc Almond,
Spandau Ballet,
Larry & the Blue Notes,
Alison Limerick,
Camron Feat. Jay Z And Juelz,
The Durutti Column,
The Fugs,
Dead Boys,
Gerry Rafferty,
Section 25,
Marc Romboy vs. Booka Shade,
The Blackbyrds,
Lou Reed & Metallica,
The Misunderstood,
Tomorrow,
the Bar-Kays,
8 Eyed Spy,
Lower 48,
Gong,
Eurythmics,
Soulsonic Force,
Nas,
Jacob Miller,
Grandmaster Flash and the Furious Five,
the Fania All-Stars,
Teenage Jesus and the Jerks,
Barclay James Harvest,
Underground Resistance,
Pantaleimon,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.