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 Armenia and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Stockholm and New York.
I'm losing my edge to the art-school Mexico City 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 arpeggiator 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 Kurtis Blow to the funk 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 Sister Nancy. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Bush Tetras 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 linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Kas Product,
Heavy D & The Boyz,
Wire,
Warren Ellis,
Amon Düül II,
a-ha,
Tim Buckley,
June Days,
Teenage Jesus and the Jerks,
Peter & Gordon,
Albert Ayler,
Rod Modell,
Skriet,
Ronan,
cv313,
The Invisible,
Bootsy's Rubber Band,
Andrew Hill,
John Holt,
Animal Collective,
Major Organ And The Adding Machine,
The Cosmic Jokers,
The Dirtbombs,
Cheater Slicks,
Pylon,
Sun City Girls,
Ash Ra Tempel,
Beasts of Bourbon,
Letta Mbulu,
Absolute Body Control,
Isaac Hayes,
Minor Threat,
Gang Gang Dance,
Matthew Halsall,
The Vogues,
Hardrive,
The Names,
Blancmange,
New York Dolls,
Tubeway Army,
Cabaret Voltaire,
Aswad,
the Swans,
The Beau Brummels,
Lafayette Afro Rock Band,
Pet Shop Boys,
The Birthday Party,
Pantytec,
Porter Ricks,
Gong,
Rekid,
Flash Fearless,
Bill Near,
The United States of America,
Outsiders,
Graham Central Station,
The Chocolate Watch Band,
Sandy B,
Agent Orange,
The Count Five,
Roy Ayers,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.