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 Greece and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Milan and Columbus.
I'm losing my edge to the art-school Copenhagen 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Nik Kershaw to the jazz 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 The Walker Brothers. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Harry Pussy 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Rakim,
Babytalk,
Gerry Rafferty,
The Pop Group,
Slave,
The Busters,
the Normal,
Lizzy Mercier Descloux,
The Young Rascals,
Manfred Mann's Earth Band,
Sex Pistols,
Aswad,
Technova,
Reuben Wilson,
UT,
Pharoah Sanders,
X-102,
H. Thieme,
Deepchord,
Section 25,
Tim Buckley,
Fifty Foot Hose,
Make Up,
Black Moon,
Wire,
The Fortunes,
Unrelated Segments,
Art Ensemble Of Chicago,
The Moleskins,
The Zeros,
Sam Rivers,
Desert Stars,
Gregory Isaacs,
Ken Boothe,
Strawberry Alarm Clock,
A Certain Ratio,
Scion,
Bobby Womack,
Faraquet,
Orchestral Manoeuvres in the Dark,
Bush Tetras,
Bobby Sherman,
Todd Terry,
Prince Buster,
Gabor Szabo,
Sugar Minott,
John Lydon,
David McCallum,
Minutemen,
Spoonie Gee,
Deadbeat,
The Happenings,
Idris Muhammad,
Little Man,
Robert Görl,
Barbara Tucker,
Scientists,
Magma,
Kas Product,
Livin' Joy,
The Black Dice,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.