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 Taiwan and from Milan.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Portland.
I'm losing my edge to the art-school Philadelphia 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Bar-Kays to the disco 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 Spandau Ballet. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Glambeats Corp. 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Selector Dub Narcotic,
Cymande,
Graham Central Station,
Simply Red,
Stockholm Monsters,
The Monks,
Lower 48,
Jacques Brel,
Infiniti,
Glenn Branca,
The Techniques,
Crime,
Zero Boys,
The Leaves,
Minnie Riperton,
Kenny Larkin,
Terrestrial Tones,
Bobby Byrd,
Boogie Down Productions,
Average White Band,
Amon Düül,
The Gladiators,
Reagan Youth,
Nick Fraelich,
La Düsseldorf,
The Doors,
Livin' Joy,
Deutsch Amerikanische Freundschaft,
Patti Smith,
Eddi Front,
Television,
Warren Ellis,
Roy Ayers,
Gregory Isaacs,
PIL,
Gastr Del Sol,
Harmonia,
Dorothy Ashby,
Derrick Morgan,
Brass Construction,
Bluetip,
Surgeon,
Yellowson,
Red Lorry Yellow Lorry,
Supertramp,
Orchestral Manoeuvres in the Dark,
Grauzone,
The Tremeloes,
Jawbox,
Super Lover Cee & Casanova Rud,
Das Ding,
Judy Mowatt,
DeepChord presents Echospace,
Be Bop Deluxe,
James Chance & The Contortions,
Scott Walker + Sunn O))),
Cheater Slicks,
The New Christs,
Tears for Fears,
Black Bananas,
Lou Reed,
Goldenarms,
Japan, Japan, Japan, Japan.
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.