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 Peru and from Paris.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Calgary and Philadelphia.
I'm losing my edge to the art-school Halifax 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 mellotron 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 Theoretical Girls to the dance kids.
I played it at the Astoria.
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 Sexual Harrassment. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Ultramagnetic MC's record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Strawberry Alarm Clock,
Al Stewart,
Banda Bassotti,
Aswad,
Basic Channel,
John Foxx,
Magma,
Gang Starr,
De La Soul & Jungle Brothers,
Eli Mardock,
Bill Wells,
The Cowsills,
A Flock of Seagulls,
The Gories,
Leonard Cohen,
Jimmy McGriff,
Young Marble Giants,
Hot Snakes,
The Vogues,
Darondo,
KRS-One,
Super Lover Cee & Casanova Rud,
Altered Images,
Spoonie Gee,
June Days,
Siouxsie and the Banshees,
Eddi Front,
Black Bananas,
the Swans,
Eyeless In Gaza,
Kool Moe Dee,
Index,
DJ Style,
D'Angelo,
Albert Ayler,
Alphaville,
48th St. Collective,
Japan,
The Count Five,
Lebanon Hanover,
La Düsseldorf,
The Slits,
Monks,
Henry Cow,
Yusef Lateef,
Unrelated Segments,
John Holt,
Thinking Fellers Union Local 282,
Hashim,
Alice Coltrane,
Röyhkä ja Rättö ja Lehtisalo,
Bobbi Humphrey,
Suburban Knight,
The West Coast Pop Art Experimental Band,
Vaughan Mason & Crew,
Donald Byrd,
JFA,
Lakeside,
DeepChord presents Echospace,
John Lydon,
The Sisters of Mercy,
Harmonia, Harmonia, Harmonia, Harmonia.
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.