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 Tanzania and from Glasgow.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1973.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
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 The Invisible to the rap 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 Outsiders. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
The Gladiators,
Fluxion,
Barry Ungar,
Half Japanese,
The Slackers,
Minor Threat,
Surgeon,
Symarip,
Maleditus Sound,
Teenage Jesus and the Jerks,
Talk Talk,
Peter & Gordon,
Slave,
Can,
Isaac Hayes,
Rahsaan Roland Kirk,
China Crisis,
Lucky Dragons,
Sex Pistols,
Das Ding,
The Moody Blues,
The Black Dice,
Juan Atkins,
Ultra Naté,
Electric Prunes,
Avey Tare,
EPMD,
In Retrospect,
Bootsy's Rubber Band,
DJ Sneak,
Lightning Bolt,
Beasts of Bourbon,
The Beau Brummels,
Gil Scott-Heron & Brian Jackson,
Eurythmics,
Susan Cadogan,
Big Daddy Kane,
The Pretty Things,
Art Ensemble Of Chicago,
Grandmaster Flash,
The Martian,
R.M.O.,
Cymande,
Quadrant,
World's Most,
Gang Gang Dance,
Gang Starr,
Al Stewart,
Glenn Branca,
Ituana,
Michelle Simonal,
a-ha,
Leonard Cohen,
Yazoo,
The Doobie Brothers,
Stereo Dub,
Crispian St. Peters,
Sun City Girls,
Masters at Work,
MDC,
FM Einheit,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.