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 Hungary and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1979.
I'm losing my edge.
To all the kids in Toronto and Lagos.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Althea and Donna to the disco kids.
I played it at the Astoria.
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 Patti Smith. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Aloha Tigers record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Bobby Sherman,
The Associates,
DeepChord presents Echospace,
Groovy Waters,
Rod Modell,
Sun Ra Arkestra,
Arab on Radar,
Glambeats Corp.,
UT,
The Trojans,
The Mummies,
The Divine Comedy,
Ultravox,
The Misunderstood,
Donny Hathaway,
Bronski Beat,
Yazoo,
Gian Franco Pienzio,
Lee Hazlewood,
Harry Pussy,
Juan Atkins,
Warsaw,
Minutemen,
Maurizio,
Jimmy McGriff,
The Cure,
Japan,
Peter and Kerry,
Deutsch Amerikanische Freundschaft,
Lightning Bolt,
Lizzy Mercier Descloux,
Nico,
Agitation Free,
Fear,
X-102,
Moebius,
Avey Tare & Kría Brekkan,
The Cramps,
Franke,
Man Eating Sloth,
the Fania All-Stars,
Marc Romboy vs. Booka Shade,
Adolescents,
Blake Baxter,
The Barracudas,
Brass Construction,
Jerry's Kids,
Goldenarms,
Scan 7,
Sight & Sound,
the Sonics,
Flash Fearless,
The Monks,
Angels of Light & Akron/Family,
Bobby Hutcherson,
Inner City,
Vaughan Mason & Crew,
Mandrill,
Heaven 17, Heaven 17, Heaven 17, Heaven 17.
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.