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 Mauritius and from Edmonton.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Halifax and Hong Kong.
I'm losing my edge to the art-school Bremen 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the linndrum 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 Stockholm Monsters to the rock kids.
I played it at the Hacienda.
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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal grime 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
The Smoke,
Zero Boys,
John Lydon,
Popol Vuh,
Motorama,
Howard Jones,
Cecil Taylor,
The Moody Blues,
It's A Beautiful Day,
Strawberry Alarm Clock,
KRS-One,
Rites of Spring,
The Young Rascals,
Lebanon Hanover,
Byron Stingily,
Delon & Dalcan,
The Mummies,
Manfred Mann's Earth Band,
Unrelated Segments,
Soul Sonic Force,
the Soft Cell,
Ice-T,
Amon Düül II,
The Saints,
Chris Corsano,
Dorothy Ashby,
Althea and Donna,
Malaria!,
Minor Threat,
Don Cherry,
Alphaville,
The Litter,
Gong,
The Index,
the Slits,
Bush Tetras,
Gerry Rafferty,
The Techniques,
Desert Stars,
The Blackbyrds,
Boredoms,
The Associates,
Lower 48,
The Flesh Eaters,
Soulsonic Force,
The Gun Club,
Tropical Tobacco,
Smog,
Morten Harket,
Basic Channel,
Davy DMX,
Oblivians,
Public Image Ltd.,
The Vogues,
Wasted Youth,
Kool G Rap & DJ Polo,
The Five Americans,
Pere Ubu,
Matthew Bourne,
Moby Grape,
Bizarre Inc.,
Stetsasonic,
This Heat, This Heat, This Heat, This Heat.
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.