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 Austria and from Portland.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Delhi and Manchester.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Loose Ends to the disco kids.
I played it at the Crocodile.
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 James Chance & The Contortions. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Lonnie Liston Smith record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Zero Boys,
Cecil Taylor,
Lakeside,
Peter & Gordon,
The Index,
Bobby Womack,
Spoonie Gee,
Jawbox,
Grandmaster Flash and the Furious Five,
Flash Fearless,
Ossler,
In Retrospect,
Depeche Mode,
Lower 48,
Bauhaus,
Joyce Sims,
Make Up,
Buzzcocks,
Babytalk,
The Blues Magoos,
Jimmy McGriff,
Eden Ahbez,
Icehouse,
Lyres,
Can,
The Slits,
the Normal,
The Smiths,
Scan 7,
Supertramp,
Echo & the Bunnymen,
Second Layer,
Das Ding,
Inner City,
Radiohead,
Nick Fraelich,
The Real Kids,
Justin Hinds & The Dominoes,
The Birthday Party,
Visage,
John Cale,
Bad Manners,
Glambeats Corp.,
Freddie Wadling,
X-101,
Smog,
Skaos,
Morten Harket,
The Royal Family And The Poor,
Mars,
Louis and Bebe Barron,
Orchestral Manoeuvres in the Dark,
Boz Scaggs,
Henry Cow,
Black Sheep,
James White and The Blacks,
Donald Byrd,
MDC, MDC, MDC, MDC.
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.