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 Guinea and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Manila.
I'm losing my edge to the art-school Lyon 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 harpsichord 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 Hardrive to the jazz kids.
I played it at the Crocodile.
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 Drive Like Jehu. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
The Jesus and Mary Chain,
Arthur Verocai,
Bad Manners,
The Smoke,
Section 25,
Public Enemy,
cv313,
Brothers Johnson,
Excepter,
Maleditus Sound,
Main Source,
Bauhaus,
R.M.O.,
James Chance & The Contortions,
Avey Tare & Kría Brekkan,
Television Personalities,
Delta 5,
The Walker Brothers,
Graham Central Station,
The Star Department,
Zero Boys,
Dorothy Ashby,
the Normal,
Dave Gahan,
The Electric Prunes,
Lindisfarne,
Patti Smith,
Monolake,
H. Thieme,
Nils Olav,
Swell Maps,
A Flock of Seagulls,
Pet Shop Boys,
Con Funk Shun,
Pierre Henry,
Neil Young,
MDC,
Scion,
Easy Going,
Young Marble Giants,
Supertramp,
Blossom Toes,
Interpol,
Anthony Braxton,
Avey Tare's Slasher Flicks,
Tears for Fears,
Intrusion,
Marshall Jefferson,
The Searchers,
The Offenders,
Infiniti,
Lyres,
The Moleskins,
Kaleidoscope,
The Neon Judgement,
Schoolly D,
Electric Light Orchestra,
Roxy Music,
Groovy Waters,
Byron Stingily,
Justin Hinds & The Dominoes,
Ronan, Ronan, Ronan, Ronan.
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.