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 Spokane.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Calgary.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Jeff Lynne to the crunk 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 Masters at Work. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Grauzone,
Dr. Dre and Snoop Doggy Dog,
The Men They Couldn't Hang,
Brick,
Cybotron,
Qualms,
Malaria!,
A Flock of Seagulls,
Popol Vuh,
Quando Quango,
Prince Buster,
DNA,
Flipper,
Television Personalities,
Banda Bassotti,
Outsiders,
Mission of Burma,
De La Soul & Jungle Brothers,
Public Image Ltd.,
Joensuu 1685,
Althea and Donna,
Au Pairs,
Avey Tare's Slasher Flicks,
Mo-Dettes,
DeepChord presents Echospace,
Saccharine Trust,
Swell Maps,
The Velvet Underground,
Wolf Eyes,
The Cramps,
Rowland S Howard / Lydia Lunch,
Black Pus,
Black Sheep,
Negative Approach,
Wings,
Adolescents,
Tomorrow,
The Music Machine,
Radiohead,
Deutsch Amerikanische Freundschaft,
The Dave Clark Five,
Eric Dolphy,
Ornette Coleman,
Marc Romboy vs. Booka Shade,
T.S.O.L.,
Jeru the Damaja,
Eli Mardock,
Maurizio,
Howard Jones,
Yellowson,
New York Dolls,
Pussy Galore,
Slave,
World's Most,
June Days,
Matthew Bourne,
the Normal,
Fluxion,
The Barracudas,
Josef K,
The Moody Blues,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.