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 Armenia and from London.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Toronto and Sao Paulo.
I'm losing my edge to the art-school Lyon 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 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 Rotary Connection to the grunge kids.
I played it at the Spitz.
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 Cure. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal rap 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 a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Tremeloes record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Alton Ellis,
Jacques Brel,
Rhythm & Sound,
Eric Copeland,
Kerrie Biddell,
Archie Shepp,
It's A Beautiful Day,
48th St. Collective,
Be Bop Deluxe,
MC5,
Alphaville,
Faust,
Slave,
A Flock of Seagulls,
K-Klass,
Howard Jones,
Flash Fearless,
Roxette,
Darondo,
Kurtis Blow,
Graham Central Station,
D'Angelo,
ABC,
Symarip,
Rhythim Is Rhythim,
Yellowson,
The Smoke,
A Certain Ratio,
The Red Krayola,
The Mighty Diamonds,
Rosa Yemen,
Kevin Saunderson,
Quando Quango,
Bang on a Can All-Stars,
Dual Sessions,
Hoover,
Judy Mowatt,
Kings Of Tomorrow,
Procol Harum,
The Real Kids,
Ossler,
Nik Kershaw,
Massinfluence,
Moby Grape,
Pet Shop Boys,
Man Parrish,
the Soft Cell,
The Saints,
Gichy Dan,
Anakelly,
Girls At Our Best!,
Oppenheimer Analysis,
Amon Düül II,
Sexual Harrassment,
The Birthday Party,
The Mummies,
Smog,
Man Eating Sloth,
Erykah Badu,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.