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 New Zealand and from Lagos.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Toronto and Milan.
I'm losing my edge to the art-school Bologna 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 Tom Verlaine 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 The United States of America to the techno kids.
I played it at the Roxy.
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 Talk Talk. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Deakin,
Roy Ayers Ubiquity,
Rotary Connection,
Yaz,
Arcadia,
New York Dolls,
Sunsets and Hearts,
The Fuzztones,
Gil Scott-Heron and Jamie xx,
Desert Stars,
Bad Manners,
Lalann,
Siglo XX,
The Dave Clark Five,
Unrelated Segments,
The Pop Group,
The Misunderstood,
Michelle Simonal,
Quadrant,
the Swans,
Anakelly,
Cecil Taylor,
Spandau Ballet,
Ten City,
The Sonics,
Soft Cell,
the Slits,
Aural Exciters,
ABBA,
Swell Maps,
The Seeds,
Deadbeat,
De La Soul & Jungle Brothers,
Flamin' Groovies,
the Association,
Electric Light Orchestra,
Funky Four + One,
Porter Ricks,
Lindisfarne,
Be Bop Deluxe,
Cluster,
the Germs,
Sixth Finger,
The Slackers,
Amazonics,
Television Personalities,
The Cramps,
The J.B.'s,
Mission of Burma,
Make Up,
Dark Day,
Oppenheimer Analysis,
John Holt,
Ponytail,
X-102,
The Human League,
Cabaret Voltaire,
Juan Atkins,
Scion, Scion, Scion, Scion.
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.