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 Greece and from Tehran.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1973.
I'm losing my edge.
To all the kids in Bremen and Johannesburg.
I'm losing my edge to the art-school Spokane 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 marimba 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 The Gladiators to the grunge 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 Flamin' Groovies. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Easy Going,
The Associates,
Vaughan Mason & Crew,
Ohio Players,
Oneida,
Andrew Ashong & Theo Parrish,
World's Most,
Marc Almond,
Masters at Work,
The Mummies,
Jesper Dahlbäck,
Urselle,
Hoover,
John Lydon,
Babytalk,
Talk Talk,
Ultravox,
Super Lover Cee & Casanova Rud,
Pierre Henry,
Art Ensemble Of Chicago,
Joy Division,
Carl Craig,
Terrestrial Tones,
OOIOO,
Rites of Spring,
Sun City Girls,
Public Enemy,
The Walker Brothers,
the Association,
The Gories,
Deutsch Amerikanische Freundschaft,
Cameo,
The Cosmic Jokers,
Moebius,
Severed Heads,
The Selecter,
Grandmaster Flash and the Furious Five,
Scott Walker + Sunn O))),
FM Einheit,
Richard Hell and the Voidoids,
Derrick Morgan,
Godley & Creme,
Kas Product,
Alison Limerick,
Vainqueur,
Idris Muhammad,
Kerrie Biddell,
Nico,
Man Eating Sloth,
Rekid,
New Order,
John Cale,
Jerry Gold Smith,
Wire,
R.M.O.,
Nick Cave & The Bad Seeds,
The Last Poets,
Audionom,
Leonard Cohen,
Q65, Q65, Q65, Q65.
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.