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 Guinea and from Mexico City.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Calgary and Edmonton.
I'm losing my edge to the art-school Winnipeg 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 organ 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 Scion to the jazz kids.
I played it at the Troubador.
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 Masters at Work. All the underground hits.
All Japan tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
Camberwell Now,
Danielle Patucci,
Funkadelic,
Sly & The Family Stone,
Fifty Foot Hose,
The Dead C,
Circle Jerks,
Groovy Waters,
Mad Mike,
the Soft Cell,
Harpers Bizarre,
Erasure,
Fatback Band,
Ronnie Foster,
Franke,
Reuben Wilson,
The Gories,
The Electric Prunes,
Echospace,
Theoretical Girls,
ABBA,
Colin Newman,
Morten Harket,
Eli Mardock,
Howard Jones,
Panda Bear,
Echo & the Bunnymen,
It's A Beautiful Day,
Art Ensemble Of Chicago,
Unrelated Segments,
Stockholm Monsters,
The Residents,
Alphaville,
The Toasters,
Skaos,
Loose Ends,
The Fugs,
Main Source,
Liliput,
The Smoke,
Half Japanese,
Underground Resistance,
Sad Lovers and Giants,
Nils Olav,
Big Daddy Kane,
The Slits,
Rod Modell,
Kayak,
Red Lorry Yellow Lorry,
Pete Rock & C.L. Smooth,
Agitation Free,
Das Ding,
Sonic Youth,
Rowland S Howard / Lydia Lunch,
Electric Prunes,
Throbbing Gristle,
Jeru the Damaja,
The Gap Band,
Mark Hollis,
Excepter,
Larry & the Blue Notes,
Sandy B,
The Victims, The Victims, The Victims, The Victims.
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.