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 Azerbaijan and from Mumbai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Mumbai and Tokyo.
I'm losing my edge to the art-school New York 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 chamberlin 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 Quadrant to the rock 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 Peter and Kerry. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Eric B and Rakim,
New York Dolls,
Tears for Fears,
The Martian,
The Slackers,
June of 44,
The Beau Brummels,
Altered Images,
Eve St. Jones,
Interpol,
Connie Case,
Neil Young,
The Skatalites,
Gang Gang Dance,
Easy Going,
Swell Maps,
Toni Rubio,
Major Organ And The Adding Machine,
Malaria!,
Livin' Joy,
Make Up,
The Music Machine,
Roxy Music,
Joyce Sims,
Zapp,
Amazonics,
Deadbeat,
Richard Hell and the Voidoids,
Hoover,
The Modern Lovers,
Davy DMX,
Kayak,
Marvin Gaye,
John Cale,
Marmalade,
The Saints,
John Coltrane,
June Days,
Quadrant,
Stiv Bators,
The Techniques,
KRS-One,
Gong,
Subhumans,
The Selecter,
Thee Headcoats,
Soft Machine,
Tropical Tobacco,
Sparks,
Michelle Simonal,
Chrome,
Duran Duran,
The Misunderstood,
Radiohead,
Accadde A,
Nik Kershaw,
Kurtis Blow,
Joe Smooth,
Judy Mowatt,
Wire,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.