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 Germany and from Johannesburg.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1979.
I'm losing my edge.
To all the kids in Lille and Glasgow.
I'm losing my edge to the art-school Toronto 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the clarinet 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 The Alarm Clocks to the dance 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 Tomorrow. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Rapeman 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 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Alice Coltrane,
Charles Mingus,
Half Japanese,
48th St. Collective,
Fatback Band,
Tomorrow,
Minnie Riperton,
The Litter,
Chris & Cosey,
UT,
Jacob Miller,
Urselle,
L. Decosne,
Japan,
Visage,
Faraquet,
The Dead C,
The Vogues,
Sugar Minott,
The Victims,
Grandmaster Flash and the Furious Five,
Brand Nubian,
Deadbeat,
Bobbi Humphrey,
The Techniques,
Interpol,
Quando Quango,
The Wake,
Carl Craig,
Rekid,
CMW,
Television Personalities,
The Blackbyrds,
Prince Buster,
Section 25,
Heaven 17,
Röyhkä ja Rättö ja Lehtisalo,
Eyeless In Gaza,
The Sonics,
Kerri Chandler,
Nils Olav,
Dead Boys,
Pussy Galore,
The Cramps,
Sunsets and Hearts,
Bobby Sherman,
Albert Ayler,
Kenny Larkin,
Nirvana,
New York Dolls,
Orchestral Manoeuvres in the Dark,
Donald Byrd,
Liaisons Dangereuses,
Young Marble Giants,
Vainqueur,
The Raincoats,
James Chance & The Contortions,
Nico,
Aswad,
the Soft Cell,
Public Enemy,
Super Lover Cee & Casanova Rud,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.