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 Togo and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Tehran.
I'm losing my edge to the art-school Spokane 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 theremin sounds with much patience.
I was there when Lou Reed 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 The Five Americans to the grime kids.
I played it at the 40 Watt.
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 Lou Reed. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Derrick May record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Magma record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Technova,
ABC,
The Dead C,
Lizzy Mercier Descloux,
John Holt,
The Techniques,
The Star Department,
Nation of Ulysses,
Urselle,
the Bar-Kays,
Gichy Dan,
Kauko Röyhkä ja Narttu,
Slick Rick,
Robert Hood,
Siouxsie and the Banshees,
Wally Richardson,
Country Joe & The Fish,
Hasil Adkins,
Magazine,
FM Einheit,
Bronski Beat,
Zero Boys,
The Slackers,
The Tremeloes,
The Neon Judgement,
Swell Maps,
the Soft Cell,
Gerry Rafferty,
Sexual Harrassment,
The Chocolate Watch Band,
Mars,
Popol Vuh,
Symarip,
The Gap Band,
Black Flag,
Faraquet,
Hashim,
Soul II Soul,
The Motions,
Michelle Simonal,
The Shadows of Knight,
The Men They Couldn't Hang,
The Buckinghams,
David McCallum,
Ponytail,
Von Mondo,
Susan Cadogan,
Camberwell Now,
Accadde A,
Lalo Schifrin,
Flamin' Groovies,
Throbbing Gristle,
Radiohead,
Marmalade,
Con Funk Shun,
Roy Ayers,
Minny Pops,
Carl Craig,
Amon Düül,
Moss Icon,
Jacques Brel,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.