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 Congo and from Winnipeg.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Bologna.
I'm losing my edge to the art-school Portland 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Tears for Fears to the jazz kids.
I played it at Trash.
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 H. Thieme. All the underground hits.
All Eurythmics tracks. I heard you have a vinyl of every Dead Boys 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Jerry's Kids record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Faust,
Soul II Soul,
The Cosmic Jokers,
John Holt,
Jerry Gold Smith,
Gian Franco Pienzio,
Gong,
Man Parrish,
Skaos,
Todd Rundgren,
Roy Ayers,
Marmalade,
Amazonics,
The Shadows of Knight,
Stereo Dub,
Peter Gordon & Love of Life Orchestra,
The Busters,
Public Enemy,
Ash Ra Tempel,
Heavy D & The Boyz,
Mary Jane Girls,
Zero Boys,
Joyce Sims,
Gil Scott Heron,
the Slits,
Wolf Eyes,
Glenn Branca,
Lindisfarne,
Radiohead,
Au Pairs,
Moss Icon,
Yazoo,
Vaughan Mason & Crew,
JFA,
Khruangbin,
Deakin,
Donald Byrd,
John Coltrane,
Kauko Röyhkä ja Narttu,
48th St. Collective,
The Young Rascals,
Crash Course in Science,
Lou Reed & John Cale,
The Blackbyrds,
Technova,
Marc Romboy vs. Booka Shade,
Joe Finger,
The New Christs,
The Electric Prunes,
The Fire Engines,
Wings,
Pantytec,
The Pop Group,
The Names,
Das Ding,
Soft Cell,
A Flock of Seagulls,
Zapp,
Stetsasonic,
The Stooges,
China Crisis, China Crisis, China Crisis, China Crisis.
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.