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 Dominican Republic and from Houston.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Mumbai.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
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 Aswad to the funk 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 Janne Schatter. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Freddie Wadling,
Red Lorry Yellow Lorry,
Alphaville,
The Moleskins,
Masters at Work,
The Kinks,
Wasted Youth,
The Cure,
June of 44,
Spoonie Gee,
Vaughan Mason & Crew,
The Blues Magoos,
Dual Sessions,
Eden Ahbez,
Skriet,
Sound Behaviour,
Bad Manners,
Idris Muhammad,
Crispian St. Peters,
Babytalk,
Index,
the Human League,
Fugazi,
Barclay James Harvest,
Bobby Byrd,
Cheater Slicks,
Hoover,
The Toasters,
Ponytail,
Whodini,
Can,
Moby Grape,
The Smoke,
Jimmy McGriff,
Lucky Dragons,
Sister Nancy,
Warsaw,
Siouxsie and the Banshees,
Severed Heads,
The Selecter,
Heaven 17,
Michelle Simonal,
Los Fastidios,
Quando Quango,
Japan,
Ultramagnetic MC's,
Dennis Brown,
David Axelrod,
Nik Kershaw,
Television,
Faraquet,
Be Bop Deluxe,
Flamin' Groovies,
Beasts of Bourbon,
Fela Kuti,
Flipper,
Danielle Patucci,
Pulsallama,
the Sonics,
DJ Style,
Colin Newman,
Lee Hazlewood,
Todd Terry,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.