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 Rwanda and from Winnipeg.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Manila and Paris.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the güiro 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 Tom Boy to the disco 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 Aswad. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
Man Parrish,
Public Image Ltd.,
Whodini,
PIL,
Zapp,
The Trojans,
Louis and Bebe Barron,
Rowland S Howard / Lydia Lunch,
Erasure,
Alphaville,
Judy Mowatt,
Dr. Dre and Snoop Doggy Dog,
Eyeless In Gaza,
Tears for Fears,
The Alarm Clocks,
Sugar Minott,
Notorious BIG live in Amsterdam,
The Peanut Butter Conspiracy,
E-Dancer,
Rapeman,
Jeru the Damaja,
Archie Shepp,
Drexciya,
Teenage Jesus and the Jerks,
Kauko Röyhkä ja Narttu,
The Raincoats,
Gang Gang Dance,
Mr. Review,
Surgeon,
Technova,
Symarip,
Piero Umiliani,
Altered Images,
The West Coast Pop Art Experimental Band,
Slave,
Section 25,
Carl Craig,
Schoolly D,
Inner City,
Joe Finger,
The Music Machine,
The Fuzztones,
Visionaries,LMNO, T- Love & Iriscience,
DeepChord presents Echospace,
Donny Hathaway,
The Blues Magoos,
Anakelly,
Scott Walker,
The Knickerbockers,
Amon Düül II,
Godley & Creme,
Graham Central Station,
The Vogues,
Robert Görl,
Red Lorry Yellow Lorry,
Blake Baxter,
Derrick May,
Infiniti,
The Kinks,
Quantec,
Unwound, Unwound, Unwound, Unwound.
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.