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 Tanzania and from New York.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school Toronto 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron 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 A Certain Ratio to the jazz 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 Monochrome Set. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Alison Limerick,
Vladislav Delay,
Moby Grape,
Rhythm & Sound,
The Martian,
Boogie Down Productions,
Marmalade,
Cybotron,
Lyres,
Au Pairs,
Andrew Hill,
Vainqueur,
Silicon Teens,
Warsaw,
Suicide,
New Age Steppers,
Intrusion,
Skarface,
The Chocolate Watch Band,
Tom Boy,
Hashim,
Vaughan Mason & Crew,
Flipper,
B.T. Express,
Fatback Band,
Brand Nubian,
Frankie Knuckles,
Heaven 17,
The Raincoats,
Röyhkä ja Rättö ja Lehtisalo,
The Human League,
Gang Gang Dance,
Joy Division,
Electric Light Orchestra,
Nils Olav,
Sad Lovers and Giants,
Terrestrial Tones,
The Mojo Men,
The Associates,
Essential Logic,
The Durutti Column,
The Selecter,
Jesper Dahlback,
Cecil Taylor,
Marcia Griffiths,
Josef K,
New York Dolls,
The Techniques,
Model 500,
Jesper Dahlbäck,
Lou Christie,
Soft Cell,
Whodini,
T. Rex,
The Dead C,
Simply Red,
Duran Duran,
Bobby Sherman,
One Last Wish,
Drive Like Jehu,
Loose Ends,
Half Japanese,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.