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 Kenya 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 1965 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Winnipeg.
I'm losing my edge to the art-school Cairo 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 Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Dual Sessions to the crunk kids.
I played it at the Astoria.
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 Don Cherry. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every John Foxx record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Sparks,
Dorothy Ashby,
The Offenders,
Mantronix,
Strawberry Alarm Clock,
Whodini,
the Bar-Kays,
Underground Resistance,
Stiv Bators,
The Sisters of Mercy,
New York Dolls,
Barbara Tucker,
The Chocolate Watch Band,
Juan Atkins,
Cybotron,
KRS-One,
Justin Hinds & The Dominoes,
Susan Cadogan,
Youth Brigade,
The Monochrome Set,
Arab on Radar,
The Mummies,
The Sound,
The New Christs,
Gichy Dan,
Little Man,
Jacques Brel,
Zero Boys,
Terrestrial Tones,
Angry Samoans,
Cabaret Voltaire,
Terror Squad Feat. Camron,
48th St. Collective,
John Lydon,
Spandau Ballet,
Q65,
Derrick Morgan,
Black Pus,
Marcia Griffiths,
Marmalade,
Vaughan Mason & Crew,
Intrusion,
Bluetip,
Sex Pistols,
The Move,
Robert Hood,
The Searchers,
Ultravox,
The Gories,
Rapeman,
Tears for Fears,
Derrick May,
Crash Course in Science,
Black Flag,
Lee Hazlewood,
a-ha,
The Walker Brothers,
The Toasters,
Donny Hathaway,
Gregory Isaacs,
John Foxx,
the Soft Cell,
Godley & Creme, Godley & Creme, Godley & Creme, Godley & Creme.
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.