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 Iraq and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Manila.
I'm losing my edge to the art-school Copenhagen 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Monks to the rap 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 Joensuu 1685. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every The Misunderstood 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Sun Ra Arkestra,
DNA,
Model 500,
Cymande,
The Offenders,
June Days,
Cameo,
the Normal,
The Slackers,
The Move,
Neu!,
Alice Coltrane,
Suburban Knight,
Newcleus,
Desert Stars,
Popol Vuh,
Gang Green,
Eurythmics,
Lindisfarne,
Joey Negro,
The Knickerbockers,
Country Teasers,
the Fania All-Stars,
Soulsonic Force,
Super Lover Cee & Casanova Rud,
Joe Smooth,
Con Funk Shun,
Theoretical Girls,
X-102,
Skarface,
The Doors,
Manfred Mann's Earth Band,
Mary Jane Girls,
The Neon Judgement,
The Moody Blues,
CMW,
Ronan,
DJ Sneak,
Pere Ubu,
Danielle Patucci,
Public Enemy,
Average White Band,
Alphaville,
Sister Nancy,
Brothers Johnson,
cv313,
The Dead C,
Magazine,
The Pop Group,
Livin' Joy,
One Last Wish,
Jerry Gold Smith,
Mars,
Gary Puckett & The Union Gap,
Boogie Down Productions,
The Chocolate Watch Band,
Y Pants,
Kevin Saunderson,
Soft Machine,
Harpers Bizarre,
June of 44,
Terror Squad Feat. Camron,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.