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 Norway and from Shanghai.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Calgary and Houston.
I'm losing my edge to the art-school Houston 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 808 sounds with much patience.
I was there when Donald Fagen 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 Derrick May to the grunge kids.
I played it at CBGB's.
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 The Doors. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Gichy Dan record on German import.
I heard that you have a white label of every seminal jazz 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 a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Morten Harket,
MC5,
The Victims,
Whodini,
Liliput,
The Beau Brummels,
Ponytail,
Nik Kershaw,
New Age Steppers,
Ultra Naté,
The Mighty Diamonds,
Agent Orange,
Lee Hazlewood,
Amon Düül II,
The Toasters,
Gil Scott Heron,
Traffic Nightmare,
Simply Red,
Inner City,
Kurtis Blow,
Crispy Ambulance,
Ronan,
Siglo XX,
Bluetip,
Procol Harum,
Arab on Radar,
Stiv Bators,
The Fuzztones,
Tres Demented,
ABC,
Marc Romboy vs. Booka Shade,
Ultravox,
Circle Jerks,
Visionaries,LMNO, T- Love & Iriscience,
Kas Product,
Black Bananas,
Loose Ends,
Zero Boys,
The Fire Engines,
Minor Threat,
CMW,
The Moleskins,
The Techniques,
X-101,
Boogie Down Productions,
Au Pairs,
Flipper,
Lindisfarne,
Clear Light,
Tears for Fears,
Pere Ubu,
Reuben Wilson,
Blossom Toes,
Shuggie Otis,
The West Coast Pop Art Experimental Band,
Vaughan Mason & Crew,
The Move,
Grandmaster Flash and the Furious Five,
Y Pants,
Neu!,
John Cale, John Cale, John Cale, John Cale.
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.