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 Trinidad & Tobago and from Winnipeg.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Taipei and Milan.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the guitar 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 James White and The Blacks to the disco kids.
I played it at the 40 Watt.
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 Khruangbin. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Manfred Mann's Earth Band record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Thompson Twins,
The Selecter,
The Fortunes,
Loose Ends,
Negative Approach,
Junior Murvin,
Urselle,
Ken Boothe,
The Knickerbockers,
A Certain Ratio,
Theoretical Girls,
Pole,
The Blackbyrds,
Yaz,
Notorious BIG live in Amsterdam,
The Fuzztones,
Mo-Dettes,
Swell Maps,
Bang On A Can,
New Age Steppers,
Soulsonic Force,
Suicide,
Kauko Röyhkä ja Narttu,
Sonny Sharrock,
Los Fastidios,
The Walker Brothers,
Pagans,
Bronski Beat,
Can,
The Chocolate Watch Band,
Neu!,
Cameo,
The Birthday Party,
The West Coast Pop Art Experimental Band,
Shoche,
Pharaoh Sanders and the Fire Engines,
Be Bop Deluxe,
Mission of Burma,
The Dirtbombs,
The Blues Magoos,
Brand Nubian,
Pulsallama,
The Invisible,
Andrew Ashong & Theo Parrish,
FM Einheit,
Thinking Fellers Union Local 282,
Joe Smooth,
Cybotron,
Barbara Tucker,
Sixth Finger,
Nils Olav,
Hasil Adkins,
Little Man,
Colin Newman,
T. Rex,
Bauhaus,
Livin' Joy,
Depeche Mode,
the Human League,
Throbbing Gristle,
Aural Exciters,
Aswad, Aswad, Aswad, Aswad.
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.