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 Colombia and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Woodstock and Lyon.
I'm losing my edge to the art-school Johannesburg 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Louis and Bebe Barron to the grime 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 Eli Mardock. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
Parry Music,
The Saints,
The Walker Brothers,
Suburban Knight,
Black Pus,
The Birthday Party,
Gang Starr,
The Standells,
Theoretical Girls,
Judy Mowatt,
The Blackbyrds,
Amon Düül,
Blossom Toes,
the Sonics,
Au Pairs,
Crooked Eye,
Bobby Hutcherson,
Tubeway Army,
Radiohead,
Graham Central Station,
Oblivians,
Eric Dolphy,
Minny Pops,
Cabaret Voltaire,
Anakelly,
Brothers Johnson,
Marc Romboy vs. Booka Shade,
Sad Lovers and Giants,
Sex Pistols,
Joensuu 1685,
Ultimate Spinach,
Mission of Burma,
Röyhkä ja Rättö ja Lehtisalo,
Fear,
Black Flag,
Sight & Sound,
Sällskapet,
The Fire Engines,
MDC,
Siouxsie and the Banshees,
Pylon,
Symarip,
Aaron Thompson,
Ultramagnetic MC's,
Scientists,
Ohio Players,
The Move,
The Detroit Cobras,
Terry Callier,
Niagra,
Camouflage,
Pere Ubu,
Glambeats Corp.,
Prince Buster,
Monolake,
8 Eyed Spy,
Nick Cave & The Bad Seeds,
The New Christs,
Index,
The Slits,
the Slits, the Slits, the Slits, the Slits.
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.