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 Argentina and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1974.
I'm losing my edge.
To all the kids in Seoul and Seoul.
I'm losing my edge to the art-school Toronto 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 guitar sounds with much patience.
I was there when David Bowie 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 Pole to the rap kids.
I played it at the Spitz.
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 Strawberry Alarm Clock. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Los Fastidios record on German import.
I heard that you have a white label of every seminal rock 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erykah Badu,
The Knickerbockers,
Bluetip,
John Lydon,
Monks,
Moss Icon,
Surgeon,
Alphaville,
Silicon Teens,
June Days,
The Smoke,
Bobby Womack,
The Doors,
L. Decosne,
UT,
The Slackers,
cv313,
FM Einheit,
Lou Reed & Metallica,
The Doobie Brothers,
Matthew Bourne,
Wire,
The Count Five,
Vainqueur,
Beasts of Bourbon,
Altered Images,
Cheater Slicks,
Organ,
Andrew Ashong & Theo Parrish,
Rapeman,
Heavy D & The Boyz,
Grandmaster Flash,
Slave,
H. Thieme,
Man Parrish,
Letta Mbulu,
Fat Boys,
Robert Hood,
The New Christs,
Sun Ra,
Gerry Rafferty,
Stiv Bators,
Echospace,
Arab on Radar,
Bootsy Collins,
Swell Maps,
The Barracudas,
Todd Rundgren,
ABBA,
The Motions,
Bobby Sherman,
Joensuu 1685,
The Men They Couldn't Hang,
Electric Light Orchestra,
Joey Negro,
Bob Dylan,
Alton Ellis,
In Retrospect,
Clear Light,
Robert Görl,
Interpol, Interpol, Interpol, Interpol.
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.