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 Liechtenstein and from Lille.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1972.
I'm losing my edge.
To all the kids in Taipei and Calgary.
I'm losing my edge to the art-school New York 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Japan to the techno kids.
I played it at the Roxy.
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 Ultravox. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
John Coltrane,
Scientists,
Goldenarms,
David McCallum,
Erasure,
The Angels of Light,
Black Moon,
Terry Callier,
Lizzy Mercier Descloux,
Bobby Womack,
Quadrant,
Alice Coltrane,
Pharaoh Sanders and the Fire Engines,
Derrick Morgan,
Negative Approach,
Liaisons Dangereuses,
Stereo Dub,
The Names,
Cecil Taylor,
Mantronix,
The Index,
Masters at Work,
Chris & Cosey,
Beasts of Bourbon,
China Crisis,
Spandau Ballet,
T.S.O.L.,
Anakelly,
Alison Limerick,
U.S. Maple,
Technova,
Animal Collective,
MC5,
Tomorrow,
Nick Fraelich,
The Moleskins,
Stetsasonic,
Joyce Sims,
Black Sheep,
Rhythm & Sound,
Heavy D & The Boyz,
Organ,
Sandy B,
E-Dancer,
Heaven 17,
Eddi Front,
Peter Gordon & Love of Life Orchestra,
The Flesh Eaters,
MDC,
Shuggie Otis,
Brick,
Rekid,
Lucky Dragons,
Cymande,
Bobby Hutcherson,
Quando Quango,
The Wake,
Scratch Acid,
Connie Case,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.