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 Belarus and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Portland and Spokane.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the guitar sounds with much patience.
I was there when David Bowie 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 Silicon Teens to the grime 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 The Electric Prunes. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Ultimate Spinach 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Roxette,
Pagans,
The West Coast Pop Art Experimental Band,
Sight & Sound,
Judy Mowatt,
Goldenarms,
Fifty Foot Hose,
Rotary Connection,
Gerry Rafferty,
Girls At Our Best!,
Black Pus,
The Sound,
Liaisons Dangereuses,
Lou Reed & John Cale,
Lakeside,
The Sonics,
Grandmaster Flash and the Furious Five,
Jacob Miller,
The Standells,
Tears for Fears,
Al Stewart,
Q and Not U,
Slave,
OOIOO,
Andrew Hill,
Marc Romboy vs. Booka Shade,
Talk Talk,
Simply Red,
The Cosmic Jokers,
Lalo Schifrin,
Terrestrial Tones,
Camouflage,
Derrick Morgan,
Popol Vuh,
The Pretty Things,
The Red Krayola,
Erasure,
John Cale,
Vaughan Mason & Crew,
Swell Maps,
Lizzy Mercier Descloux,
Nirvana,
Swans,
Pussy Galore,
the Bar-Kays,
Robert Wyatt,
Franke,
Sly & The Family Stone,
The Music Machine,
Henry Cow,
Pierre Henry,
Connie Case,
Quando Quango,
Stockholm Monsters,
a-ha,
Blossom Toes,
Mr. Review,
Camberwell Now,
The Evens,
Average White Band,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.