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 Dominica and from Halifax.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Halifax and Halifax.
I'm losing my edge to the art-school Halifax 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 snare sounds with much patience.
I was there when David Bowie 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 Oblivians to the rap 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 Stockholm Monsters. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
Lonnie Liston Smith,
Kevin Saunderson,
Zero Boys,
L. Decosne,
Adolescents,
Con Funk Shun,
Masters at Work,
Patti Smith,
Japan,
Sarah Menescal,
Lightning Bolt,
Cymande,
Josef K,
Ronan,
Reuben Wilson,
B.T. Express,
Wire,
Pere Ubu,
Joe Smooth,
the Normal,
Spandau Ballet,
Kango’s Stein Massive,
Sällskapet,
Tommy Roe,
Zapp,
Urselle,
Judy Mowatt,
Avey Tare's Slasher Flicks,
Johnny Osbourne,
Black Pus,
Flamin' Groovies,
Intrusion,
Stockholm Monsters,
Connie Case,
Second Layer,
Eric B and Rakim,
Pharoah Sanders,
The Jesus and Mary Chain,
T. Rex,
A Certain Ratio,
Wally Richardson,
Suicide,
Andrew Ashong & Theo Parrish,
Alphaville,
Absolute Body Control,
the Bar-Kays,
Cabaret Voltaire,
The Cure,
Dr. Dre and Snoop Doggy Dog,
Ultra Naté,
Isaac Hayes,
Wolf Eyes,
Model 500,
Infiniti,
The Grass Roots,
Avey Tare,
Henry Cow,
Notorious Big And Bone Thugs,
Rufus Thomas,
Sugar Minott,
The Dirtbombs,
Boz Scaggs,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.