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 Chile and from Stockholm.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1976.
I'm losing my edge.
To all the kids in Delhi and Salvador.
I'm losing my edge to the art-school Edmonton 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 theremin 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 Adolescents to the grunge kids.
I played it at Trash.
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 Malaria!. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The United States of America,
A Flock of Seagulls,
Qualms,
Todd Rundgren,
Flipper,
Aaron Thompson,
Bad Manners,
Eurythmics,
Patti Smith,
Crooked Eye,
the Bar-Kays,
R.M.O.,
The Neon Judgement,
Bizarre Inc.,
Sarah Menescal,
Michelle Simonal,
Tommy Roe,
Barclay James Harvest,
Hot Snakes,
The Raincoats,
Sunsets and Hearts,
Roxy Music,
David Axelrod,
Amon Düül,
Avey Tare & Kría Brekkan,
Rod Modell,
Be Bop Deluxe,
La Düsseldorf,
Deakin,
Howard Jones,
The Selecter,
Danielle Patucci,
The Index,
Subhumans,
Basic Channel,
Brick,
Motorama,
Buzzcocks,
Don Cherry,
The Motions,
Robert Görl,
Tom Boy,
Lou Christie,
The Evens,
8 Eyed Spy,
Niagra,
London Community Gospel Choir,
Ludus,
Fatback Band,
Cameo,
Max Romeo,
Massinfluence,
The Pop Group,
Gang Gang Dance,
Royal Trux,
Dave Gahan,
Stereo Dub,
Second Layer,
Oppenheimer Analysis,
June Days,
Johnny Clarke,
Reagan Youth,
Fugazi, Fugazi, Fugazi, Fugazi.
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.