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 Poland and from Copenhagen.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Manchester and Toronto.
I'm losing my edge to the art-school Beijing 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 marimba 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 Das Ding to the disco kids.
I played it at the Hacienda.
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 Ohio Players. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Anthony Braxton 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
the Germs,
The Detroit Cobras,
Johnny Osbourne,
Con Funk Shun,
Swell Maps,
Terrestrial Tones,
Siouxsie and the Banshees,
Pharoah Sanders,
James Chance & The Contortions,
Black Sheep,
The Standells,
Bad Manners,
Barclay James Harvest,
Thinking Fellers Union Local 282,
Duran Duran,
Dark Day,
The Monochrome Set,
Fela Kuti,
The Fugs,
The Buckinghams,
Grandmaster Flash and the Furious Five,
China Crisis,
Khruangbin,
Thompson Twins,
Bobby Hutcherson,
Mantronix,
Ultimate Spinach,
Avey Tare's Slasher Flicks,
Accadde A,
The American Breed,
Roxy Music,
Skarface,
KRS-One,
Gastr Del Sol,
Kauko Röyhkä ja Narttu,
Pierre Henry,
Lindisfarne,
Make Up,
Joe Smooth,
K-Klass,
Eddi Front,
Y Pants,
Faust,
Justin Hinds & The Dominoes,
Sam Rivers,
H. Thieme,
Lyres,
EPMD,
Mars,
Public Image Ltd.,
James White and The Blacks,
Throbbing Gristle,
The Walker Brothers,
Ken Boothe,
The Golliwogs,
E-Dancer,
Hardrive,
The Gap Band,
Letta Mbulu,
Echo & the Bunnymen,
Matthew Bourne,
Circle Jerks,
Rosa Yemen,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.