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 United States and from Philadelphia.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Winnipeg.
I'm losing my edge to the art-school Sao Paulo 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 marimba 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 The Monks to the techno 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 Neil Young & Crazy Horse. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every E-Dancer 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Lafayette Afro Rock Band,
Icehouse,
Bad Manners,
Parry Music,
The United States of America,
Gregory Isaacs,
Lindisfarne,
Strawberry Alarm Clock,
Quadrant,
Nation of Ulysses,
Donald Byrd,
Roxy Music,
Liliput,
Jeru the Damaja,
Peter and Kerry,
Howard Jones,
Pierre Henry,
Drive Like Jehu,
the Fania All-Stars,
Avey Tare,
Delta 5,
Sister Nancy,
Skriet,
Pere Ubu,
Yusef Lateef,
Tears for Fears,
Eli Mardock,
Grauzone,
The Zeros,
Grey Daturas,
Metal Thangz,
Ponytail,
MDC,
Delon & Dalcan,
Arthur Verocai,
Suburban Knight,
Cabaret Voltaire,
Hasil Adkins,
Groovy Waters,
Crispy Ambulance,
The J.B.'s,
The Offenders,
Angry Samoans,
The Dave Clark Five,
The Remains,
Qualms,
Spoonie Gee,
Unwound,
B.T. Express,
Aural Exciters,
Depeche Mode,
The Dead C,
R.M.O.,
Make Up,
Can,
DJ Style,
The Fall,
The Stooges,
Ultra Naté,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.