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 Macedonia and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Salvador and Johannesburg.
I'm losing my edge to the art-school Mexico City 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 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 Michelle Simonal to the techno 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 Graham Central Station. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Magma record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Arthur Verocai,
Gastr Del Sol,
The Barracudas,
Camouflage,
Marc Romboy vs. Booka Shade,
Ornette Coleman,
New York Dolls,
Nik Kershaw,
Liaisons Dangereuses,
Joe Smooth,
Los Fastidios,
Lucky Dragons,
Piero Umiliani,
Jacob Miller,
Q and Not U,
K-Klass,
Chrome,
A Certain Ratio,
Tears for Fears,
Lou Christie,
Sly & The Family Stone,
Amon Düül II,
Accadde A,
The Beau Brummels,
Country Joe & The Fish,
Jandek,
Gichy Dan,
The Invisible,
Neu!,
John Holt,
Ultramagnetic MC's,
The American Breed,
Isaac Hayes,
Marc Almond,
Davy DMX,
Janne Schatter,
Amazonics,
Jesper Dahlbäck,
The Gories,
The Men They Couldn't Hang,
Rhythim Is Rhythim,
Röyhkä ja Rättö ja Lehtisalo,
Brass Construction,
Anthony Braxton,
The Selecter,
The Birthday Party,
Eurythmics,
Easy Going,
The Vogues,
Roxette,
Boogie Down Productions,
Rekid,
Deutsch Amerikanische Freundschaft,
Susan Cadogan,
Subhumans,
Steve Hackett,
Babytalk,
New Age Steppers,
Bill Wells,
Marshall Jefferson,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.