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 Colombia and from Tehran.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Halifax and Lille.
I'm losing my edge to the art-school Delhi 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 sitar sounds with much patience.
I was there when David Bowie 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 Moss Icon to the rap 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 F. McDonald. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Sugar Minott 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Alison Limerick,
Carl Craig,
The Martian,
a-ha,
The Angels of Light,
Cabaret Voltaire,
Japan,
Monolake,
Agent Orange,
Interpol,
Electric Light Orchestra,
Byron Stingily,
Ornette Coleman,
The Zeros,
The Fire Engines,
The Modern Lovers,
Aloha Tigers,
Kango’s Stein Massive,
Suicide,
Kool Moe Dee,
Donald Byrd,
MDC,
Rowland S Howard / Lydia Lunch,
Tomorrow,
Khruangbin,
Parry Music,
Skriet,
Louis and Bebe Barron,
Ultimate Spinach,
Nik Kershaw,
Metal Thangz,
Matthew Halsall,
Crispy Ambulance,
Gichy Dan,
Selector Dub Narcotic,
Brick,
H. Thieme,
Inner City,
Max Romeo,
Danielle Patucci,
The J.B.'s,
The Offenders,
The West Coast Pop Art Experimental Band,
Sunsets and Hearts,
Eric Dolphy,
Gang Gang Dance,
Warren Ellis,
Skaos,
Yazoo,
Country Joe & The Fish,
Fat Boys,
Minny Pops,
Boogie Down Productions,
Bauhaus,
the Slits,
Hashim,
Michelle Simonal,
Lucky Dragons,
DeepChord presents Echospace,
Heavy D & The Boyz,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.