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 Austria and from Paris.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Manchester and Glasgow.
I'm losing my edge to the art-school Paris 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Cabaret Voltaire to the grunge kids.
I played it at the Roxy.
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 Oppenheimer Analysis. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Marmalade 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 '80s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Lee Hazlewood,
Kango’s Stein Massive,
the Germs,
Sight & Sound,
Dead Boys,
Cecil Taylor,
Ronan,
Eric Dolphy,
Unrelated Segments,
Spoonie Gee,
The Monks,
Chris Corsano,
The Motions,
A Flock of Seagulls,
Quantec,
Gang of Four,
Skaos,
The Alarm Clocks,
Royal Trux,
Isaac Hayes,
Chrome,
The Seeds,
The Men They Couldn't Hang,
Dr. Dre and Snoop Doggy Dog,
Marvin Gaye,
Malaria!,
Louis and Bebe Barron,
The Red Krayola,
Cabaret Voltaire,
MC5,
Joey Negro,
The Martian,
Art Ensemble Of Chicago,
The Cowsills,
The Techniques,
The Raincoats,
Chris & Cosey,
The Gladiators,
Gang Green,
Todd Terry,
Grandmaster Flash,
Easy Going,
The Skatalites,
Teenage Jesus and the Jerks,
Basic Channel,
Pantytec,
Aswad,
Nas,
Judy Mowatt,
Red Lorry Yellow Lorry,
Roger Hodgson,
June Days,
Fatback Band,
Oneida,
Ultra Naté,
Joyce Sims,
The Misunderstood,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.