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 Swaziland and from Bremen.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Lagos and Hong Kong.
I'm losing my edge to the art-school Toronto 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 chamberlin 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 Mars to the rock kids.
I played it at the 40 Watt.
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 China Crisis. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Laurel Aitken,
Jawbox,
Sandy B,
The Misunderstood,
Jeff Lynne,
Marvin Gaye,
London Community Gospel Choir,
Dawn Penn,
Strawberry Alarm Clock,
Masters at Work,
Rufus Thomas,
Gastr Del Sol,
The Barracudas,
the Normal,
The Skatalites,
X-102,
Soft Cell,
Bauhaus,
Camberwell Now,
Mark Hollis,
Yellowson,
Eurythmics,
Roxette,
Massinfluence,
The Monks,
Minutemen,
Simply Red,
U.S. Maple,
Joe Finger,
Spandau Ballet,
the Association,
E-Dancer,
Easy Going,
Cecil Taylor,
Can,
the Human League,
Albert Ayler,
John Lydon,
The Vogues,
Stiv Bators,
Sexual Harrassment,
Lalann,
Blake Baxter,
Wings,
Scan 7,
Justin Hinds & The Dominoes,
The Standells,
Curtis Mayfield,
Crooked Eye,
Joensuu 1685,
Throbbing Gristle,
Kings Of Tomorrow,
The Royal Family And The Poor,
Peter and Kerry,
The Pretty Things,
The Dead C,
Basic Channel,
Pussy Galore,
Ultimate Spinach,
June Days,
Neil Young & Crazy Horse,
The Litter, The Litter, The Litter, The Litter.
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.