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 Iraq and from Manila.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Seoul.
I'm losing my edge to the art-school Calgary 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 oboe 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 electroclash 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 Cameo. All the underground hits.
All Captain Beefheart & His Magic Band tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Bauhaus,
The Pretty Things,
Young Marble Giants,
Lou Christie,
Urselle,
Peter & Gordon,
Mr. Review,
The Litter,
PIL,
Outsiders,
The Remains,
AZ,
Notorious Big And Bone Thugs,
R.M.O.,
Swans,
Neil Young,
Ash Ra Tempel,
The Fuzztones,
Absolute Body Control,
Lalo Schifrin,
Avey Tare,
Sällskapet,
A Certain Ratio,
10cc,
Ornette Coleman,
Pharaoh Sanders and the Fire Engines,
Vainqueur,
Depeche Mode,
Graham Central Station,
Dark Day,
Joyce Sims,
The Associates,
Scan 7,
Monks,
Oneida,
Scratch Acid,
Unwound,
The Smoke,
Albert Ayler,
John Holt,
Desert Stars,
ABC,
The Monochrome Set,
Ajijia Myrayebe,
Laurel Aitken,
Tropical Tobacco,
The Dirtbombs,
Eli Mardock,
Terror Squad Feat. Camron,
The Saints,
The Fall,
The Residents,
Captain Beefheart & His Magic Band,
The Kinks,
Johnny Clarke,
Fugazi,
Ultra Naté,
Severed Heads,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.