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 New Zealand and from Salvador.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Cairo.
I'm losing my edge to the art-school Manila 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Alison Limerick to the rock kids.
I played it at CBGB's.
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 Gichy Dan. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Bluetip 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Liliput,
The Victims,
Second Layer,
Lyres,
Guru Guru,
cv313,
Bootsy Collins,
Oneida,
Eurythmics,
Crooked Eye,
The Barracudas,
Ralphi Rosario,
Nation of Ulysses,
Nico,
Roger Hodgson,
The Tremeloes,
Sly & The Family Stone,
Sällskapet,
Ash Ra Tempel,
The Modern Lovers,
Stereo Dub,
Ludus,
Bad Manners,
The Skatalites,
Fear,
Brand Nubian,
Masters at Work,
Amazonics,
Orchestral Manoeuvres in the Dark,
Monks,
Judy Mowatt,
The Misunderstood,
Barclay James Harvest,
The Detroit Cobras,
A Flock of Seagulls,
Junior Murvin,
Faust,
The Busters,
Joe Finger,
Gabor Szabo,
The Sisters of Mercy,
Absolute Body Control,
Neil Young,
The Grass Roots,
The West Coast Pop Art Experimental Band,
F. McDonald,
Traffic Nightmare,
Rhythim Is Rhythim,
Kerri Chandler,
Rhythm & Sound,
B.T. Express,
Rotary Connection,
Roxette,
Jacob Miller,
The Divine Comedy,
Agent Orange,
Stockholm Monsters,
Be Bop Deluxe,
The Dave Clark Five,
The Blues Magoos,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.