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 Monaco and from Manila.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Salvador and Houston.
I'm losing my edge to the art-school Toronto 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator 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 Absolute Body Control to the techno kids.
I played it at the Roxy.
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 Country Joe & The Fish. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Jandek 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
Orchestral Manoeuvres in the Dark,
Public Image Ltd.,
Dawn Penn,
Camberwell Now,
Robert Wyatt,
Strawberry Alarm Clock,
Crime,
Buzzcocks,
The Birthday Party,
Electric Prunes,
Sight & Sound,
Q65,
Rhythim Is Rhythim,
L. Decosne,
Ronnie Foster,
Swell Maps,
Stereo Dub,
Quando Quango,
Judy Mowatt,
Be Bop Deluxe,
Section 25,
Interpol,
The American Breed,
CMW,
Colin Newman,
Surgeon,
48th St. Collective,
Kerrie Biddell,
Vainqueur,
E-Dancer,
Josef K,
Ultra Naté,
The Gun Club,
The Golliwogs,
Lightning Bolt,
Rekid,
Underground Resistance,
Lou Reed,
Johnny Osbourne,
Wings,
Henry Cow,
The Wake,
Urselle,
Susan Cadogan,
Ohio Players,
Animal Collective,
Magma,
Symarip,
Moebius,
The Moody Blues,
Donny Hathaway,
Terrestrial Tones,
kango's stein massive,
Mo-Dettes,
Jeff Lynne,
Panda Bear,
Gang of Four,
Boogie Down Productions,
The West Coast Pop Art Experimental Band,
The Kinks,
Young Marble Giants,
Chrome,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.