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 United States and from Madrid.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Woodstock 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Gang of Four to the jazz kids.
I played it at the Hacienda.
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 Soft Cell. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every Arab on Radar 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Lower 48,
A Flock of Seagulls,
Brand Nubian,
Vladislav Delay,
Sight & Sound,
Jacques Brel,
Main Source,
Eric Copeland,
Mad Mike,
La Düsseldorf,
DNA,
Qualms,
Wasted Youth,
X-101,
Echospace,
The Golliwogs,
Oppenheimer Analysis,
Ronan,
Eyeless In Gaza,
Unrelated Segments,
The Divine Comedy,
Roxette,
Sister Nancy,
Black Moon,
Beasts of Bourbon,
Lou Reed,
Joey Negro,
New Order,
Pharaoh Sanders and the Fire Engines,
Donald Byrd,
R.M.O.,
Flamin' Groovies,
Con Funk Shun,
Prince Buster,
Radio Birdman,
Vainqueur,
The Residents,
H. Thieme,
Leonard Cohen,
Bauhaus,
These Immortal Souls,
The Zeros,
Thompson Twins,
Skriet,
Altered Images,
Sound Behaviour,
Magazine,
James Chance & The Contortions,
Bobby Byrd,
The Shadows of Knight,
Second Layer,
Skarface,
John Coltrane,
the Soft Cell,
Crispy Ambulance,
Louis and Bebe Barron,
The Last Poets,
DeepChord presents Echospace,
Orchestral Manoeuvres in the Dark,
Radiohead,
Ohio Players,
10cc, 10cc, 10cc, 10cc.
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.