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 Oman and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Winnipeg and Philadelphia.
I'm losing my edge to the art-school Manchester 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 Robert Palmer 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 Groovy Waters to the grime 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 Eric Copeland. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every the Slits 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
The Men They Couldn't Hang,
Outsiders,
Flipper,
Khruangbin,
Ultravox,
DJ Sneak,
Black Sheep,
Subhumans,
Ultra Naté,
Ajijia Myrayebe,
Country Teasers,
Bronski Beat,
Amon Düül,
Swell Maps,
Sex Pistols,
The Fall,
Aaron Thompson,
Japan,
Johnny Clarke,
Young Marble Giants,
Davy DMX,
Kango’s Stein Massive,
Black Bananas,
Royal Trux,
The Evens,
Iggy Pop,
Aural Exciters,
The Cure,
Dual Sessions,
The Trojans,
The West Coast Pop Art Experimental Band,
Gerry Rafferty,
The Cowsills,
ABC,
Fela Kuti,
K-Klass,
Supertramp,
Ornette Coleman,
Deepchord,
Letta Mbulu,
Minnie Riperton,
Talk Talk,
Tom Boy,
the Human League,
Fort Wilson Riot,
Unwound,
Lafayette Afro Rock Band,
Erasure,
Joe Smooth,
Severed Heads,
Echospace,
the Soft Cell,
Pantytec,
The Cramps,
Crispy Ambulance,
Pharaoh Sanders and the Fire Engines,
Bootsy's Rubber Band,
The American Breed,
The Gories,
Interpol,
Oppenheimer Analysis,
Max Romeo,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.