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 Czech Republic and from Paris.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Houston 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 arpeggiator 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 Popol Vuh to the dance 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 Connie Case. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every The Beau Brummels record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Hoover record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
Nick Cave & The Bad Seeds,
Jacob Miller,
Minutemen,
48th St. Collective,
H. Thieme,
Joey Negro,
the Human League,
Joe Smooth,
The Modern Lovers,
Zero Boys,
Clear Light,
Gregory Isaacs,
Procol Harum,
Basic Channel,
Interpol,
The Doobie Brothers,
Crispy Ambulance,
Bill Wells,
Wally Richardson,
Barbara Tucker,
The Detroit Cobras,
Visage,
Roy Ayers,
Skarface,
The Knickerbockers,
Tomorrow,
Bobby Hutcherson,
David Bowie,
Marvin Gaye,
Siouxsie and the Banshees,
Laurel Aitken,
Echospace,
John Lydon,
The Slackers,
Sound Behaviour,
The Sisters of Mercy,
Bang On A Can,
Television,
Jesper Dahlbäck,
Al Stewart,
Beasts of Bourbon,
Excepter,
Robert Hood,
Lucky Dragons,
10cc,
Sam Rivers,
A Flock of Seagulls,
Pere Ubu,
Suburban Knight,
Eddi Front,
Freddie Wadling,
Radiopuhelimet,
John Cale,
The Neon Judgement,
Sixth Finger,
The West Coast Pop Art Experimental Band,
Das Ding,
Peter & Gordon,
Pharoah Sanders,
D'Angelo,
Kas Product, Kas Product, Kas Product, Kas Product.
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.