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 Azerbaijan and from Toronto.
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 1965 to 1970.
I'm losing my edge.
To all the kids in New York and Mexico City.
I'm losing my edge to the art-school Bologna 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Terrestrial Tones to the grime 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 James Chance & The Contortions. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
The Searchers,
Accadde A,
Deepchord,
Kings Of Tomorrow,
Faraquet,
Qualms,
The United States of America,
Kool Moe Dee,
Andrew Hill,
Roy Ayers,
Amazonics,
Brand Nubian,
The Motions,
Gregory Isaacs,
Minny Pops,
Pete Rock & C.L. Smooth,
Talk Talk,
Hot Snakes,
David Bowie,
Crooked Eye,
T. Rex,
MDC,
The Busters,
Bizarre Inc.,
Lou Reed & John Cale,
Letta Mbulu,
The Names,
The Doors,
Babytalk,
The Fire Engines,
Bootsy's Rubber Band,
Lizzy Mercier Descloux,
Yaz,
Guru Guru,
Susan Cadogan,
Gerry Rafferty,
The Dirtbombs,
The Blues Magoos,
Nils Olav,
Sun City Girls,
Ronan,
Bobby Hutcherson,
Eddi Front,
Ohio Players,
John Coltrane,
Harry Pussy,
The American Breed,
Unwound,
Dual Sessions,
Soul II Soul,
Jeru the Damaja,
Warren Ellis,
The Angels of Light,
Malaria!,
Marshall Jefferson,
E-Dancer,
Prince Buster,
Audionom,
Gang Starr,
Johnny Osbourne,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.