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 Copenhagen.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1976.
I'm losing my edge.
To all the kids in Lyon and Salvador.
I'm losing my edge to the art-school Salvador 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 oboe sounds with much patience.
I was there when Lou Reed 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 Boz Scaggs to the grime kids.
I played it at the Astoria.
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 Malaria!. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Jesper Dahlback 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Half Japanese,
Major Organ And The Adding Machine,
A Flock of Seagulls,
Index,
Zero Boys,
Fluxion,
Duran Duran,
Ornette Coleman,
Technova,
The Saints,
The Remains,
The Moody Blues,
Siglo XX,
Kayak,
Colin Newman,
Jawbox,
Ossler,
Be Bop Deluxe,
Röyhkä ja Rättö ja Lehtisalo,
Mad Mike,
Tommy Roe,
The Angels of Light,
Jacques Brel,
Jeff Lynne,
Laurel Aitken,
Avey Tare's Slasher Flicks,
Oblivians,
Quadrant,
The Red Krayola,
Bizarre Inc.,
Bang on a Can All-Stars,
DNA,
The Litter,
Kings Of Tomorrow,
The Seeds,
Deutsch Amerikanische Freundschaft,
Black Bananas,
The West Coast Pop Art Experimental Band,
The Cure,
Nils Olav,
Little Man,
Glambeats Corp.,
The Chocolate Watch Band,
8 Eyed Spy,
Fear,
MC5,
Curtis Mayfield,
Lakeside,
Pylon,
Absolute Body Control,
Reuben Wilson,
Howard Jones,
Marc Almond,
Basic Channel,
Jeru the Damaja,
John Holt,
Animal Collective,
Bill Near,
Brass Construction,
The Last Poets,
Pierre Henry,
X-Ray Spex,
The Mighty Diamonds,
The Smoke, The Smoke, The Smoke, The Smoke.
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.