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 Venezuela and from Winnipeg.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Manila.
I'm losing my edge to the art-school Stockholm 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Brass Construction to the jazz kids.
I played it at Cafe Wha.
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 Slick Rick. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Alison Limerick 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 '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
Circle Jerks,
Wally Richardson,
John Foxx,
The Cowsills,
Thinking Fellers Union Local 282,
Stereo Dub,
Pylon,
Deepchord,
The Skatalites,
Liaisons Dangereuses,
Groovy Waters,
Quando Quango,
Brand Nubian,
The Names,
Kauko Röyhkä ja Narttu,
MC5,
Ash Ra Tempel,
Half Japanese,
L. Decosne,
Simply Red,
Alice Coltrane,
Sight & Sound,
Kevin Saunderson,
Das Ding,
The Associates,
Davy DMX,
Electric Prunes,
June of 44,
The Walker Brothers,
Kerrie Biddell,
The Electric Prunes,
Strawberry Alarm Clock,
Sunsets and Hearts,
Unrelated Segments,
Main Source,
Whodini,
Jandek,
The Music Machine,
Magazine,
Moby Grape,
Dual Sessions,
This Heat,
the Soft Cell,
Godley & Creme,
Spoonie Gee,
The Gap Band,
Pole,
Magma,
The Busters,
T. Rex,
Icehouse,
Dennis Brown,
Gang Gang Dance,
Juan Atkins,
Deutsch Amerikanische Freundschaft,
China Crisis,
Rowland S Howard / Lydia Lunch,
Slave,
Faust,
The Tremeloes,
Deadbeat,
Susan Cadogan,
Nas, Nas, Nas, Nas.
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.