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 Belgium and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1973.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
I'm losing my edge to the art-school Winnipeg 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 clarinet 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 Smog to the rock kids.
I played it at the Troubador.
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 Swans. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every The Moody Blues record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
UT,
Bang On A Can,
Fat Boys,
Clear Light,
Man Parrish,
Outsiders,
Stockholm Monsters,
Yellowson,
Das Ding,
John Lydon,
AZ,
Pole,
Television,
The Victims,
The Cure,
Bronski Beat,
Negative Approach,
Severed Heads,
Ralphi Rosario,
L. Decosne,
Basic Channel,
Stiv Bators,
Deakin,
a-ha,
Arab on Radar,
Groovy Waters,
Wire,
Dorothy Ashby,
Barclay James Harvest,
The Smiths,
Bauhaus,
These Immortal Souls,
Sun Ra Arkestra,
New Age Steppers,
Roy Ayers,
Jacques Brel,
Yusef Lateef,
Subhumans,
Heaven 17,
Sugar Minott,
Terry Callier,
The Chocolate Watch Band,
Chris & Cosey,
Frankie Knuckles,
Oneida,
The Pretty Things,
Suicide,
The Cramps,
The Move,
Sight & Sound,
Byron Stingily,
Nas,
ABC,
Derrick Morgan,
Thompson Twins,
FM Einheit,
Schoolly D,
Roy Ayers Ubiquity,
Larry & the Blue Notes,
Kayak, Kayak, Kayak, Kayak.
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.