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 Monaco and from Accra.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Lagos and Sao Paulo.
I'm losing my edge to the art-school Spokane 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 organ 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 Barrington Levy to the grime 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 Aaron Thompson. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Babytalk,
Jimmy McGriff,
The Pretty Things,
Mars,
Delon & Dalcan,
Anthony Braxton,
The Happenings,
Soulsonic Force,
Johnny Osbourne,
Malaria!,
Chrome,
Ornette Coleman,
Grauzone,
Donald Byrd,
Lakeside,
MDC,
Black Pus,
The Jesus and Mary Chain,
Drexciya,
The Detroit Cobras,
Lalo Schifrin,
Brothers Johnson,
Lee Hazlewood,
Fad Gadget,
Agitation Free,
the Sonics,
Justin Hinds & The Dominoes,
Eden Ahbez,
Crash Course in Science,
Minny Pops,
Nick Fraelich,
the Slits,
Connie Case,
Ken Boothe,
Derrick May,
Intrusion,
Barbara Tucker,
Young Marble Giants,
the Germs,
Wasted Youth,
Ponytail,
Hashim,
Wings,
Stockholm Monsters,
The Mighty Diamonds,
Aural Exciters,
Tears for Fears,
Shuggie Otis,
Al Stewart,
Liliput,
Crispy Ambulance,
Jeff Lynne,
the Soft Cell,
Eddi Front,
Radiohead,
Japan,
Kurtis Blow,
Dead Boys,
Hasil Adkins,
Orchestral Manoeuvres in the Dark,
Crooked Eye,
Jeff Mills,
Joey Negro,
Television, Television, Television, Television.
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.