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 Mozambique and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Manchester and Manchester.
I'm losing my edge to the art-school Shanghai 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 Average White Band to the techno kids.
I played it at the Astoria.
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 James White and The Blacks. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every ABC 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 a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Masters at Work,
Pere Ubu,
Laurel Aitken,
Maurizio,
Tommy Roe,
48th St. Collective,
James White and The Blacks,
Vainqueur,
Avey Tare,
Guru Guru,
The Remains,
X-102,
a-ha,
Sonny Sharrock,
Howard Jones,
Albert Ayler,
The Red Krayola,
FM Einheit,
D'Angelo,
KRS-One,
The Victims,
Gichy Dan,
Nik Kershaw,
Tim Buckley,
Marcia Griffiths,
Scientists,
Young Marble Giants,
10cc,
Thompson Twins,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Amazonics,
Carl Craig,
Minutemen,
The American Breed,
Visage,
Gil Scott Heron,
De La Soul & Jungle Brothers,
Derrick May,
Yazoo,
Junior Murvin,
Ronnie Foster,
Eric B and Rakim,
Erasure,
The Star Department,
Yaz,
Cluster,
Marmalade,
Todd Rundgren,
Cameo,
Tres Demented,
Connie Case,
Glambeats Corp.,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Modern Lovers,
The Motions,
Selector Dub Narcotic,
Goldenarms,
Schoolly D,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.