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 Suriname and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Lyon and Bologna.
I'm losing my edge to the art-school Delhi 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 snare 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 Marcia Griffiths to the techno kids.
I played it at the Crocodile.
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 Freddie Wadling. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Symarip record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar 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,
The Fire Engines,
Delon & Dalcan,
Robert Wyatt,
John Coltrane,
Pulsallama,
Gil Scott-Heron & Brian Jackson,
Andrew Ashong & Theo Parrish,
Parry Music,
Television Personalities,
James Chance & The Contortions,
Simply Red,
The Doors,
Jeru the Damaja,
The Birthday Party,
Hardrive,
Vaughan Mason & Crew,
Scientists,
Crispian St. Peters,
Michelle Simonal,
DJ Sneak,
Barrington Levy,
The Fuzztones,
Siglo XX,
Rosa Yemen,
Soft Machine,
The Sound,
New Order,
The Monochrome Set,
U.S. Maple,
Nas,
R.M.O.,
The Fortunes,
The Moleskins,
Toni Rubio,
Blossom Toes,
Black Moon,
Sex Pistols,
In Retrospect,
Laurel Aitken,
Marmalade,
The Music Machine,
Derrick Morgan,
Scion,
Eyeless In Gaza,
Barbara Tucker,
The Beau Brummels,
Joy Division,
The Gories,
Idris Muhammad,
The Blackbyrds,
Susan Cadogan,
Vladislav Delay,
Blancmange,
June of 44,
The Misunderstood,
Los Fastidios,
Buzzcocks,
Neil Young,
Pylon,
Art Ensemble Of Chicago,
Oblivians,
Quando Quango,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.