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 Dominica and from Paris.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Toronto and New York.
I'm losing my edge to the art-school Hong Kong 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 marimba 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 Rakim to the grunge kids.
I played it at the Roxy.
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 The Kinks. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Laurel Aitken,
Monks,
The Busters,
The Seeds,
Intrusion,
In Retrospect,
Susan Cadogan,
The Gap Band,
Yaz,
Sunsets and Hearts,
Kings Of Tomorrow,
The Leaves,
Heaven 17,
Gian Franco Pienzio,
Angels of Light & Akron/Family,
Skaos,
Black Pus,
Ken Boothe,
EPMD,
Das Ding,
Leonard Cohen,
The Smiths,
Mr. Review,
MDC,
Cabaret Voltaire,
The Smoke,
The Black Dice,
The Names,
Boredoms,
The Wake,
Maleditus Sound,
Peter Gordon & Love of Life Orchestra,
Cluster,
Model 500,
Pulsallama,
Crispian St. Peters,
The Knickerbockers,
Make Up,
Minutemen,
the Association,
Jacques Brel,
Cybotron,
Goldenarms,
Gichy Dan,
Sad Lovers and Giants,
the Bar-Kays,
Pete Rock & C.L. Smooth,
Arthur Verocai,
Louis and Bebe Barron,
This Heat,
Jesper Dahlbäck,
Basic Channel,
The Fugs,
Mary Jane Girls,
Deepchord,
A Certain Ratio,
The Neon Judgement,
Bang on a Can All-Stars,
Ultra Naté,
Symarip, Symarip, Symarip, Symarip.
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.