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 Chad and from Lille.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the marimba 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 Eurythmics to the funk kids.
I played it at Cafe Wha.
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 Germs. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Mr. Review,
Funky Four + One,
Deadbeat,
Rapeman,
Khruangbin,
Susan Cadogan,
Pantaleimon,
Siglo XX,
LL Cool J,
Quantec,
Nils Olav,
The Doors,
Soft Machine,
T.S.O.L.,
Richard Hell and the Voidoids,
Sugar Minott,
Grandmaster Flash and the Furious Five,
the Bar-Kays,
Silicon Teens,
Avey Tare's Slasher Flicks,
Gil Scott-Heron & Brian Jackson,
The Golliwogs,
Jerry's Kids,
Marc Romboy vs. Booka Shade,
Absolute Body Control,
Donny Hathaway,
Kerrie Biddell,
The Velvet Underground,
Harmonia,
Reuben Wilson,
Essential Logic,
Kurtis Blow,
U.S. Maple,
Warsaw,
OOIOO,
Massinfluence,
Drexciya,
EPMD,
Model 500,
Eyeless In Gaza,
Barbara Tucker,
Smog,
The Neon Judgement,
Vaughan Mason & Crew,
L. Decosne,
The Gories,
Gil Scott Heron,
Public Enemy,
Ten City,
Intrusion,
Ultra Naté,
Anthony Braxton,
Crooked Eye,
Kango’s Stein Massive,
Tres Demented,
The New Christs,
Orchestral Manoeuvres in the Dark,
Mars,
Arcadia,
Junior Murvin,
The Evens,
Rhythim Is Rhythim,
Scion, Scion, Scion, Scion.
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.