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 Moldova and from London.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Edmonton.
I'm losing my edge to the art-school Hong Kong 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 linndrum 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 John Holt to the dance kids.
I played it at the Troubador.
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 Gil Scott Heron. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every DJ Style record on German import.
I heard that you have a white label of every seminal grunge 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 rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Parry Music,
Todd Rundgren,
The Red Krayola,
Barry Ungar,
Ken Boothe,
Can,
Steve Hackett,
Erasure,
Livin' Joy,
Laurel Aitken,
Ituana,
The Smiths,
Electric Light Orchestra,
Deepchord,
Black Bananas,
Henry Cow,
X-102,
Andrew Hill,
Deakin,
Sparks,
The Slackers,
Colin Newman,
The Trojans,
Spandau Ballet,
Model 500,
Big Daddy Kane,
Sällskapet,
the Slits,
K-Klass,
The Star Department,
Fela Kuti,
Sister Nancy,
Bootsy Collins,
MDC,
Radio Birdman,
Gil Scott Heron,
The Divine Comedy,
Flash Fearless,
Cymande,
Barrington Levy,
Piero Umiliani,
Juan Atkins,
Urselle,
The Beau Brummels,
The Grass Roots,
Echospace,
Japan,
Crash Course in Science,
Soul Sonic Force,
Excepter,
Masters at Work,
Brick,
Flamin' Groovies,
Crime,
Half Japanese,
Sly & The Family Stone,
Soulsonic Force,
Roxy Music,
Surgeon,
The Birthday Party,
Dead Boys,
World's Most,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.