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 Gambia and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Lille and New York.
I'm losing my edge to the art-school Calgary 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum 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 Orchestral Manoeuvres in the Dark to the electroclash kids.
I played it at Cafe Wha.
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 Nick Fraelich. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every Hot Snakes record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Blancmange,
Roxette,
The Barracudas,
Joensuu 1685,
The Pop Group,
Ronan,
The Alarm Clocks,
Lyres,
DJ Style,
Hoover,
Pulsallama,
Gary Puckett & The Union Gap,
Peter & Gordon,
Eric B and Rakim,
The Shadows of Knight,
Flamin' Groovies,
Thompson Twins,
The Cowsills,
The Modern Lovers,
Skarface,
Juan Atkins,
Soft Machine,
Alphaville,
Major Organ And The Adding Machine,
The Gories,
The Smiths,
Steve Hackett,
Avey Tare's Slasher Flicks,
Stetsasonic,
Ponytail,
Gregory Isaacs,
The Monochrome Set,
The Knickerbockers,
Nils Olav,
Stockholm Monsters,
Yaz,
Thee Headcoats,
Kayak,
Donald Byrd,
PIL,
UT,
Gabor Szabo,
The Selecter,
The Leaves,
Roy Ayers,
Grandmaster Flash,
Fifty Foot Hose,
The Peanut Butter Conspiracy,
Liaisons Dangereuses,
Notorious Big And Bone Thugs,
X-101,
Pierre Henry,
Pere Ubu,
Gerry Rafferty,
Ultimate Spinach,
Unrelated Segments,
Q65,
The Royal Family And The Poor,
Fugazi,
Rowland S Howard / Lydia Lunch,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.