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 Liechtenstein 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 1973.
I'm losing my edge.
To all the kids in Bremen and Portland.
I'm losing my edge to the art-school Houston 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 guitar 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 Johnny Osbourne to the rap 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 Joensuu 1685. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal rap 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 an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Colin Newman,
Nils Olav,
L. Decosne,
The Gun Club,
The Doobie Brothers,
X-102,
Chris Corsano,
Peter Gordon & Love of Life Orchestra,
Bang on a Can All-Stars,
Graham Central Station,
Josef K,
Tom Boy,
FM Einheit,
Brass Construction,
The Raincoats,
The Fire Engines,
Radiohead,
Amon Düül,
Roy Ayers,
Guru Guru,
Archie Shepp,
Quantec,
Robert Görl,
Kenny Larkin,
Joe Finger,
Bronski Beat,
Dual Sessions,
Fat Boys,
La Düsseldorf,
Desert Stars,
Ohio Players,
Lungfish,
The Human League,
Gabor Szabo,
Jandek,
Carl Craig,
The Flesh Eaters,
Slave,
Glenn Branca,
The Mummies,
Q65,
Faraquet,
Henry Cow,
Shuggie Otis,
Todd Rundgren,
Ronan,
Hot Snakes,
Jeff Lynne,
David McCallum,
Pierre Henry,
Magma,
Heaven 17,
Dark Day,
Motorama,
Goldenarms,
The Durutti Column,
June of 44,
Judy Mowatt,
EPMD,
Alice Coltrane,
Scratch Acid,
KRS-One,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.