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 Greece and from Tokyo.
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 1961 to 1977.
I'm losing my edge.
To all the kids in London and Accra.
I'm losing my edge to the art-school Lyon 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Spandau Ballet to the jazz kids.
I played it at the Spitz.
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 The Moody Blues. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal crunk 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 rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
Pantaleimon,
The Mojo Men,
Jacques Brel,
The Slits,
Jerry's Kids,
Liaisons Dangereuses,
Kango’s Stein Massive,
the Human League,
Robert Hood,
Jacob Miller,
Albert Ayler,
Bill Wells,
Buzzcocks,
Orchestral Manoeuvres in the Dark,
Judy Mowatt,
John Coltrane,
Lou Reed,
Neil Young & Crazy Horse,
Eyeless In Gaza,
Second Layer,
Whodini,
Gian Franco Pienzio,
Young Marble Giants,
In Retrospect,
Radio Birdman,
Tears for Fears,
Super Lover Cee & Casanova Rud,
Pagans,
Wings,
Arab on Radar,
Loose Ends,
The Chocolate Watch Band,
Selector Dub Narcotic,
Mantronix,
Q and Not U,
Toni Rubio,
Shuggie Otis,
One Last Wish,
Swans,
Procol Harum,
Danielle Patucci,
Make Up,
Icehouse,
Joensuu 1685,
Kenny Larkin,
Little Man,
Todd Terry,
The Wake,
Skarface,
Ken Boothe,
UT,
Sex Pistols,
kango's stein massive,
Davy DMX,
Au Pairs,
DNA,
Sad Lovers and Giants,
Urselle,
Johnny Clarke,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.