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 Zimbabwe and from Sao Paulo.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Copenhagen.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the clarinet 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 A Certain Ratio to the dance kids.
I played it at the Troubador.
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 Oneida. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
FM Einheit,
Andrew Hill,
Pierre Henry,
Jawbox,
Monks,
Pantytec,
K-Klass,
Man Parrish,
The Zeros,
Liliput,
David Bowie,
Marshall Jefferson,
The Smoke,
Gang Gang Dance,
The Sonics,
Kayak,
Todd Rundgren,
Dave Gahan,
Thompson Twins,
Motorama,
Chris Corsano,
Blancmange,
Roxy Music,
Oppenheimer Analysis,
Eurythmics,
Deadbeat,
The Motions,
Adolescents,
Lakeside,
JFA,
Gichy Dan,
The Birthday Party,
Vaughan Mason & Crew,
Basic Channel,
Lou Reed,
Freddie Wadling,
The Dave Clark Five,
Eric Dolphy,
The Doors,
Fad Gadget,
The Alarm Clocks,
Pulsallama,
Ponytail,
Can,
The Dead C,
Fluxion,
Magazine,
The Pop Group,
The Jesus and Mary Chain,
Major Organ And The Adding Machine,
The West Coast Pop Art Experimental Band,
Echospace,
Ten City,
Al Stewart,
UT,
China Crisis,
Bizarre Inc.,
Guru Guru,
Index,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.