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 Turkmenistan and from Manchester.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Lagos 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 chamberlin 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 Jimmy McGriff to the grime 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 Art Ensemble Of Chicago. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every Robert Hood 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 '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Sun City Girls record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
the Swans,
Jeru the Damaja,
Peter Gordon & Love of Life Orchestra,
The Cramps,
Skaos,
Aural Exciters,
Bobby Byrd,
Tommy Roe,
Albert Ayler,
X-102,
Spoonie Gee,
Pete Rock & C.L. Smooth,
Visage,
Erykah Badu,
Avey Tare's Slasher Flicks,
Bootsy Collins,
Roy Ayers,
Drexciya,
One Last Wish,
the Germs,
The Invisible,
Red Lorry Yellow Lorry,
Freddie Wadling,
Kool G Rap & DJ Polo,
Althea and Donna,
T.S.O.L.,
The Searchers,
EPMD,
Excepter,
Marshall Jefferson,
Laurel Aitken,
Bill Near,
Al Stewart,
Public Image Ltd.,
The Cowsills,
Carl Craig,
Nation of Ulysses,
John Lydon,
Robert Görl,
Pantaleimon,
Quando Quango,
Leonard Cohen,
Q65,
Simply Red,
Lindisfarne,
Outsiders,
Moss Icon,
The Mighty Diamonds,
Louis and Bebe Barron,
Jacob Miller,
Lou Reed & John Cale,
Henry Cow,
Darondo,
The Sonics,
Gang Gang Dance,
Terry Callier,
Silicon Teens,
Bobby Womack,
Rod Modell,
the Sonics, the Sonics, the Sonics, the Sonics.
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.