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 Vanuatu and from Milan.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Delhi.
I'm losing my edge to the art-school London 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 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 Lucky Dragons to the funk kids.
I played it at Trash.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Nation of Ulysses,
Crooked Eye,
Sparks,
The Dave Clark Five,
James Chance & The Contortions,
Donny Hathaway,
Interpol,
The Remains,
Wire,
Deutsch Amerikanische Freundschaft,
John Holt,
The J.B.'s,
DNA,
Radiohead,
Sonic Youth,
L. Decosne,
Howard Jones,
Cybotron,
The Fortunes,
Sarah Menescal,
Gian Franco Pienzio,
Guru Guru,
Monolake,
Mark Hollis,
Gang of Four,
Rhythim Is Rhythim,
Ultra Naté,
Orchestral Manoeuvres in the Dark,
Lou Christie,
Bush Tetras,
Rotary Connection,
The Victims,
Rufus Thomas,
Bauhaus,
Captain Beefheart & His Magic Band,
Moby Grape,
Television Personalities,
Ronnie Foster,
the Bar-Kays,
Magazine,
Oppenheimer Analysis,
Alphaville,
Freddie Wadling,
Bobby Byrd,
the Swans,
Ken Boothe,
Public Enemy,
Tropical Tobacco,
Rod Modell,
Average White Band,
Jawbox,
The Cosmic Jokers,
The Knickerbockers,
Prince Buster,
Sunsets and Hearts,
Tom Boy,
Kauko Röyhkä ja Narttu,
Mad Mike,
Marc Almond,
A Certain Ratio,
Liaisons Dangereuses,
cv313,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.