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 Lebanon and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Delhi.
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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Arthur Verocai to the disco kids.
I played it at the Astoria.
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 Flamin' Groovies. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Intrusion 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Zapp,
Alice Coltrane,
Albert Ayler,
Kool G Rap & DJ Polo,
the Sonics,
Terrestrial Tones,
Sarah Menescal,
U.S. Maple,
Eve St. Jones,
A Flock of Seagulls,
Teenage Jesus and the Jerks,
Panda Bear,
Electric Prunes,
The Pretty Things,
Sister Nancy,
The Count Five,
the Bar-Kays,
Groovy Waters,
Chris & Cosey,
Don Cherry,
KRS-One,
Frankie Knuckles,
Lakeside,
Brothers Johnson,
Vainqueur,
Lucky Dragons,
The Men They Couldn't Hang,
The Toasters,
T. Rex,
H. Thieme,
Howard Jones,
Pere Ubu,
The Raincoats,
Ajijia Myrayebe,
Stetsasonic,
Youth Brigade,
Mandrill,
Lou Christie,
48th St. Collective,
Wings,
Jeff Lynne,
Robert Görl,
Ten City,
Massinfluence,
The Beau Brummels,
Harpers Bizarre,
The Trojans,
Sonny Sharrock,
Dual Sessions,
Dave Gahan,
Spoonie Gee,
Ituana,
Sonic Youth,
Reuben Wilson,
Second Layer,
The Chocolate Watch Band,
Hasil Adkins,
Half Japanese,
Peter Gordon & Love of Life Orchestra,
Oneida,
The Sound, The Sound, The Sound, The Sound.
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.