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 Iran and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Manchester and Calgary.
I'm losing my edge to the art-school Calgary 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 Barbara Tucker to the crunk kids.
I played it at the Crocodile.
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 Harpers Bizarre. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Sam Rivers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Letta Mbulu,
Monks,
The Shadows of Knight,
The Men They Couldn't Hang,
Lou Reed & Metallica,
Metal Thangz,
PIL,
Ornette Coleman,
Man Eating Sloth,
Eric Dolphy,
Pierre Henry,
Jesper Dahlback,
Archie Shepp,
Byron Stingily,
These Immortal Souls,
Ice-T,
Circle Jerks,
Bush Tetras,
Nik Kershaw,
The Golliwogs,
Eddi Front,
Traffic Nightmare,
Symarip,
Siglo XX,
Grey Daturas,
Bizarre Inc.,
Gong,
Young Marble Giants,
The Black Dice,
Mantronix,
The Tremeloes,
Banda Bassotti,
Nick Fraelich,
Brass Construction,
The Divine Comedy,
Wally Richardson,
Eden Ahbez,
The Offenders,
Pole,
Kenny Larkin,
Underground Resistance,
Tropical Tobacco,
Alice Coltrane,
Teenage Jesus and the Jerks,
Pete Rock & C.L. Smooth,
Sparks,
Louis and Bebe Barron,
Essential Logic,
Mission of Burma,
Clear Light,
Lalo Schifrin,
Soft Cell,
Lyres,
Avey Tare & Kría Brekkan,
Sister Nancy,
The Cosmic Jokers,
The Dirtbombs,
The Pop Group,
Alphaville, Alphaville, Alphaville, Alphaville.
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.