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 Venezuela and from Hong Kong.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Mexico City.
I'm losing my edge to the art-school Delhi 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Q65 to the funk 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 Notorious Big And Bone Thugs. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every These Immortal Souls 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brick 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?
The Sisters of Mercy,
The Mummies,
Cameo,
Mission of Burma,
Hardrive,
Das Ding,
The Move,
Jawbox,
Sonic Youth,
Skriet,
Strawberry Alarm Clock,
Robert Hood,
The Young Rascals,
Marmalade,
PIL,
The Fall,
Juan Atkins,
Stockholm Monsters,
Sly & The Family Stone,
The Associates,
L. Decosne,
The Evens,
The Stooges,
Jacques Brel,
Television,
B.T. Express,
Brand Nubian,
Peter Gordon & Love of Life Orchestra,
Excepter,
Cecil Taylor,
The Angels of Light,
Amon Düül II,
K-Klass,
Carl Craig,
The Saints,
the Human League,
The Shadows of Knight,
Arthur Verocai,
A Flock of Seagulls,
Tommy Roe,
Can,
Manfred Mann's Earth Band,
UT,
Intrusion,
Minutemen,
H. Thieme,
Underground Resistance,
Ralphi Rosario,
The Dave Clark Five,
Soft Machine,
Aloha Tigers,
The Mighty Diamonds,
The Misunderstood,
The Doors,
the Slits,
Steve Hackett,
Jeru the Damaja,
Magazine,
Danielle Patucci,
R.M.O.,
Urselle,
Reuben Wilson,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.