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 Angola and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Milan and Shanghai.
I'm losing my edge to the art-school Toronto 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 at the first Suicide practice in a loft in New York.
I was working on the güiro 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 Cameo to the disco kids.
I played it at Trash.
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 Roxette. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Eurythmics 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Bobby Hutcherson,
The Barracudas,
The Walker Brothers,
Glambeats Corp.,
Nas,
Zapp,
X-102,
The Moleskins,
Buzzcocks,
DJ Sneak,
Nick Fraelich,
Pharaoh Sanders and the Fire Engines,
Sparks,
Josef K,
Hoover,
Morten Harket,
Kerri Chandler,
Pylon,
Blossom Toes,
10cc,
Roy Ayers,
Metal Thangz,
The Divine Comedy,
Lyres,
Magazine,
Crispy Ambulance,
Ronan,
Todd Rundgren,
Oneida,
the Fania All-Stars,
E-Dancer,
The Royal Family And The Poor,
Pet Shop Boys,
Beasts of Bourbon,
The Gladiators,
Japan,
Aswad,
Second Layer,
Andrew Ashong & Theo Parrish,
Pagans,
Orchestral Manoeuvres in the Dark,
The Slits,
Brass Construction,
Cal Tjader,
Vainqueur,
Pole,
Talk Talk,
Guru Guru,
Isaac Hayes,
Qualms,
Gabor Szabo,
Michelle Simonal,
Ponytail,
Jacques Brel,
Camberwell Now,
Cecil Taylor,
X-Ray Spex,
Marshall Jefferson,
Rotary Connection,
Liliput,
Massinfluence,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.