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 Brunei and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1978.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school Mumbai 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 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 Soft Cell 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 Nick Fraelich. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Ornette Coleman 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
The Moody Blues,
Rhythm & Sound,
Black Flag,
Cecil Taylor,
The Detroit Cobras,
La Düsseldorf,
Alphaville,
kango's stein massive,
Gang Green,
DeepChord presents Echospace,
The Names,
Faraquet,
Terrestrial Tones,
MDC,
Simply Red,
Scan 7,
Liliput,
Boz Scaggs,
The Vogues,
Notorious Big And Bone Thugs,
Kerrie Biddell,
Chrome,
Sex Pistols,
Jacob Miller,
It's A Beautiful Day,
Public Enemy,
Marc Almond,
Lizzy Mercier Descloux,
Sunsets and Hearts,
Beasts of Bourbon,
Kurtis Blow,
Rotary Connection,
Von Mondo,
Shuggie Otis,
Aural Exciters,
Second Layer,
Janne Schatter,
Subhumans,
Vaughan Mason & Crew,
Underground Resistance,
Ultravox,
Talk Talk,
Magazine,
John Foxx,
The Fugs,
Lebanon Hanover,
Notorious BIG live in Amsterdam,
A Flock of Seagulls,
F. McDonald,
Babytalk,
Soft Machine,
Franke,
Bluetip,
the Bar-Kays,
Magma,
Fear,
Y Pants,
Alton Ellis,
Cameo,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.