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 Saudi Arabia and from Houston.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1977.
I'm losing my edge.
To all the kids in New York and Columbus.
I'm losing my edge to the art-school Cairo 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Ohio Players to the dance 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 Howard Jones. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Wasted Youth record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Ten City,
Ajijia Myrayebe,
Aural Exciters,
New Age Steppers,
Motorama,
The Fire Engines,
Swell Maps,
the Human League,
Ice-T,
Danielle Patucci,
The Black Dice,
Alison Limerick,
Traffic Nightmare,
Guru Guru,
Gastr Del Sol,
Matthew Halsall,
The Gories,
Moebius,
Cluster,
These Immortal Souls,
The Chocolate Watch Band,
Bob Dylan,
Crooked Eye,
Zero Boys,
Barrington Levy,
Fatback Band,
John Cale,
Alice Coltrane,
FM Einheit,
Marvin Gaye,
Crash Course in Science,
Selector Dub Narcotic,
Prince Buster,
Sly & The Family Stone,
Ohio Players,
Soft Machine,
Josef K,
Erykah Badu,
Bluetip,
Masters at Work,
The Gladiators,
The Sonics,
Boogie Down Productions,
Scion,
Jeru the Damaja,
Judy Mowatt,
Public Enemy,
The Knickerbockers,
Connie Case,
Davy DMX,
Chris Corsano,
The Moleskins,
Bizarre Inc.,
Maleditus Sound,
Gichy Dan,
Soul II Soul,
Joe Smooth,
Gang Green, Gang Green, Gang Green, Gang Green.
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.