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 South Sudan and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Taipei and Tokyo.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Quando Quango to the funk 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 Josef K. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Urselle 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?
Stetsasonic,
Leonard Cohen,
Sight & Sound,
Joe Finger,
Gary Puckett & The Union Gap,
Pantaleimon,
The United States of America,
Rhythm & Sound,
Lindisfarne,
Electric Light Orchestra,
Public Image Ltd.,
the Normal,
Larry & the Blue Notes,
Roxette,
Bobby Sherman,
Aloha Tigers,
Kool G Rap & DJ Polo,
Lou Reed,
Joey Negro,
Joensuu 1685,
UT,
Wasted Youth,
Accadde A,
Newcleus,
Pere Ubu,
Jeff Lynne,
Bauhaus,
Nils Olav,
Symarip,
World's Most,
Maurizio,
Vainqueur,
Kayak,
Patti Smith,
Fort Wilson Riot,
The Jesus and Mary Chain,
Outsiders,
Deepchord,
Chrome,
Procol Harum,
The Toasters,
Slave,
Yellowson,
Bootsy's Rubber Band,
FM Einheit,
Depeche Mode,
Television,
Lyres,
Unwound,
David Bowie,
Sad Lovers and Giants,
Delon & Dalcan,
Goldenarms,
Dawn Penn,
Shoche,
The Mighty Diamonds,
the Fania All-Stars,
Sonic Youth,
Liaisons Dangereuses,
Lafayette Afro Rock Band,
Au Pairs,
The Motions,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.