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 Mexico and from Lagos.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Eric Copeland to the funk 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 Schoolly D. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Lou Reed & Metallica,
Supertramp,
Leonard Cohen,
Echospace,
Sly & The Family Stone,
The Blues Magoos,
Scrapy,
Laurel Aitken,
Wire,
John Lydon,
Aural Exciters,
Charles Mingus,
Joey Negro,
Nico,
The Black Dice,
Fifty Foot Hose,
Amon Düül II,
Byron Stingily,
Boredoms,
The Sonics,
the Fania All-Stars,
Sight & Sound,
Second Layer,
Sister Nancy,
Angry Samoans,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Panda Bear,
Boogie Down Productions,
PIL,
Simply Red,
10cc,
The Cure,
the Slits,
Gregory Isaacs,
The Tremeloes,
Sound Behaviour,
Visage,
Eric Dolphy,
Suburban Knight,
Zapp,
Circle Jerks,
Albert Ayler,
JFA,
Vladislav Delay,
Warren Ellis,
Radiopuhelimet,
The Detroit Cobras,
Procol Harum,
ABBA,
Goldenarms,
The Misunderstood,
Rufus Thomas,
Howard Jones,
the Soft Cell,
Lalo Schifrin,
Lou Christie,
Moby Grape,
Unrelated Segments,
The Monks,
Ultra Naté,
Heavy D & The Boyz,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.