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 United Kingdom and from Spokane.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Lagos and Paris.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 Normal to the funk kids.
I played it at the Astoria.
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 Magazine. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Skriet 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Japan record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Infiniti,
Guru Guru,
Patti Smith,
Jacob Miller,
Minutemen,
Arab on Radar,
Black Bananas,
Hardrive,
Underground Resistance,
Electric Light Orchestra,
James Chance & The Contortions,
Connie Case,
The Leaves,
Yellowson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rhythm & Sound,
John Foxx,
Hot Snakes,
Morten Harket,
Chrome,
Jesper Dahlbäck,
Lou Christie,
Unrelated Segments,
Pierre Henry,
Gong,
The Moody Blues,
Red Lorry Yellow Lorry,
Cymande,
Neil Young,
Make Up,
Fatback Band,
Delon & Dalcan,
New York Dolls,
Stockholm Monsters,
Marcia Griffiths,
The Wake,
Suburban Knight,
Erasure,
Bad Manners,
Kango’s Stein Massive,
Kauko Röyhkä ja Narttu,
Barclay James Harvest,
Newcleus,
Livin' Joy,
Jesper Dahlback,
The Divine Comedy,
Hashim,
Deakin,
ABC,
Joyce Sims,
The Dave Clark Five,
Sällskapet,
Agent Orange,
Mark Hollis,
Sonic Youth,
Symarip,
The Vogues,
The Monochrome Set,
The Zeros, The Zeros, The Zeros, The Zeros.
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.