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 Korea North and from Paris.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Winnipeg.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 The Doors to the punk kids.
I played it at the Spitz.
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 The Martian. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
F. McDonald,
Dorothy Ashby,
Ken Boothe,
Cheater Slicks,
Marcia Griffiths,
Icehouse,
Excepter,
Interpol,
The Neon Judgement,
Simply Red,
Neil Young & Crazy Horse,
Jeff Lynne,
Animal Collective,
Blossom Toes,
Sällskapet,
Röyhkä ja Rättö ja Lehtisalo,
Q and Not U,
The Jesus and Mary Chain,
Lakeside,
Cluster,
Vainqueur,
The Slackers,
Joyce Sims,
Man Eating Sloth,
Rites of Spring,
Eric B and Rakim,
DeepChord presents Echospace,
Agent Orange,
Unwound,
Albert Ayler,
Thinking Fellers Union Local 282,
Henry Cow,
Maleditus Sound,
Mr. Review,
James White and The Blacks,
Major Organ And The Adding Machine,
Circle Jerks,
Pet Shop Boys,
Lyres,
Pierre Henry,
Liliput,
Sugar Minott,
The Smoke,
John Coltrane,
Tres Demented,
Skriet,
Jacques Brel,
Charles Mingus,
The Mighty Diamonds,
Mars,
The Raincoats,
Judy Mowatt,
Y Pants,
Skaos,
Bauhaus,
Kas Product,
Essential Logic,
Black Moon,
The Flesh Eaters,
The Move, The Move, The Move, The Move.
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.