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 Uruguay and from Accra.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Madrid and Delhi.
I'm losing my edge to the art-school Madrid 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 theremin 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 The Residents to the grime kids.
I played it at Cafe Wha.
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 Cameo. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every CMW record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Oneida,
One Last Wish,
AZ,
Oppenheimer Analysis,
Scott Walker,
Rotary Connection,
ABC,
T. Rex,
The Blues Magoos,
Siouxsie and the Banshees,
Sight & Sound,
Young Marble Giants,
Japan,
Todd Rundgren,
Nils Olav,
Scrapy,
Rakim,
H. Thieme,
Saccharine Trust,
Chris & Cosey,
Tears for Fears,
Kool G Rap & DJ Polo,
Don Cherry,
Thompson Twins,
the Sonics,
New York Dolls,
Danielle Patucci,
Gerry Rafferty,
Outsiders,
Slick Rick,
Kool Moe Dee,
Big Daddy Kane,
The Men They Couldn't Hang,
Sun Ra Arkestra,
Mission of Burma,
Johnny Osbourne,
The Walker Brothers,
Franke,
Marc Almond,
Lucky Dragons,
Camouflage,
Maurizio,
Connie Case,
Morten Harket,
Jandek,
Magazine,
The Moody Blues,
Gang Green,
Accadde A,
Kevin Saunderson,
Carl Craig,
Index,
Kauko Röyhkä ja Narttu,
X-Ray Spex,
Thee Headcoats,
Ice-T,
Man Parrish,
Lalann,
Kenny Larkin,
The Star Department,
Eyeless In Gaza,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.