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 Oman and from Bologna.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Cairo and Lagos.
I'm losing my edge to the art-school Tehran 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 rhodes sounds with much patience.
I was there when Holger Czukay 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 Cheater Slicks to the grunge 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 The Beau Brummels. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Barry Ungar 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Wire,
Quando Quango,
Can,
Maleditus Sound,
Crispy Ambulance,
Ash Ra Tempel,
Lizzy Mercier Descloux,
Max Romeo,
June of 44,
Accadde A,
Y Pants,
Spandau Ballet,
Half Japanese,
Barrington Levy,
Harpers Bizarre,
Ronan,
Basic Channel,
Lou Reed,
Sun City Girls,
The Count Five,
The Red Krayola,
Clear Light,
Peter Gordon & Love of Life Orchestra,
Terrestrial Tones,
Nas,
D'Angelo,
The Victims,
Talk Talk,
Pantaleimon,
Black Moon,
Chris Corsano,
Ajijia Myrayebe,
Average White Band,
Howard Jones,
Lee Hazlewood,
Liliput,
Al Stewart,
Joensuu 1685,
Swell Maps,
Absolute Body Control,
Los Fastidios,
Drive Like Jehu,
The Cramps,
Avey Tare,
Morten Harket,
Kaleidoscope,
Ralphi Rosario,
Notorious BIG live in Amsterdam,
The West Coast Pop Art Experimental Band,
Cameo,
Scientists,
Girls At Our Best!,
Johnny Osbourne,
UT,
Kayak,
Main Source,
Wally Richardson,
Mary Jane Girls,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.