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 Tonga and from Portland.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Lyon.
I'm losing my edge to the art-school Shanghai 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 guitar 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 Roy Ayers Ubiquity to the disco kids.
I played it at the Roxy.
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 Moody Blues. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Electric Light Orchestra,
Marc Romboy vs. Booka Shade,
Lonnie Liston Smith,
Aural Exciters,
Bootsy Collins,
Lakeside,
Hasil Adkins,
Pete Rock & C.L. Smooth,
Swell Maps,
Scratch Acid,
The Chocolate Watch Band,
Archie Shepp,
Adolescents,
Depeche Mode,
Charles Mingus,
Hoover,
Byron Stingily,
Kaleidoscope,
The Smiths,
Black Sheep,
Funkadelic,
Prince Buster,
Mantronix,
Malaria!,
The Techniques,
Roxy Music,
R.M.O.,
Bobby Sherman,
The Toasters,
Joe Finger,
Black Flag,
Anakelly,
Black Pus,
ABBA,
Major Organ And The Adding Machine,
Rites of Spring,
London Community Gospel Choir,
Dawn Penn,
Bang On A Can,
Pylon,
The Litter,
Minor Threat,
Sly & The Family Stone,
Hot Snakes,
Severed Heads,
The Detroit Cobras,
Loose Ends,
Infiniti,
The Slackers,
Godley & Creme,
Magazine,
Lizzy Mercier Descloux,
Yazoo,
Scion,
Bluetip,
Soft Machine,
The Last Poets,
Freddie Wadling,
Teenage Jesus and the Jerks,
The Sound,
Erasure,
Steve Hackett,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.