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 Kyrgyzstan and from Lyon.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Houston and Paris.
I'm losing my edge to the art-school Hong Kong 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 mellotron 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 Audionom 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 Joensuu 1685. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Moss Icon 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 '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Amazonics,
Soft Machine,
Simply Red,
The Skatalites,
Interpol,
Traffic Nightmare,
The Fortunes,
Masters at Work,
Cymande,
Rod Modell,
Clear Light,
LL Cool J,
Von Mondo,
Marshall Jefferson,
Zapp,
Joe Finger,
Sexual Harrassment,
Scientists,
Connie Case,
Peter & Gordon,
Soul Sonic Force,
Liliput,
Boz Scaggs,
The Sisters of Mercy,
The Modern Lovers,
Dead Boys,
CMW,
Freddie Wadling,
Matthew Bourne,
Glambeats Corp.,
Mantronix,
The Chocolate Watch Band,
Marine Girls,
Cal Tjader,
Deadbeat,
Notorious Big And Bone Thugs,
Fort Wilson Riot,
The Divine Comedy,
Warsaw,
Man Eating Sloth,
Television Personalities,
Black Sheep,
Shoche,
X-102,
Fear,
Shuggie Otis,
Stetsasonic,
Gong,
Carl Craig,
Babytalk,
Frankie Knuckles,
Tim Buckley,
Camouflage,
Skriet,
Louis and Bebe Barron,
Qualms,
cv313,
JFA,
Audionom,
Unwound,
The Victims,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.