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 Israel and from Winnipeg.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Seoul and Tokyo.
I'm losing my edge to the art-school Seoul 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 snare sounds with much patience.
I was there when Lou Reed 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 The Dave Clark Five to the jazz kids.
I played it at Trash.
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 Thompson Twins. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Half Japanese 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Aural Exciters,
Alphaville,
The Mummies,
This Heat,
Jesper Dahlbäck,
Franke,
Gary Puckett & The Union Gap,
Rotary Connection,
Depeche Mode,
Sixth Finger,
DJ Sneak,
The Doobie Brothers,
Man Eating Sloth,
Pete Rock & C.L. Smooth,
Kool G Rap & DJ Polo,
Bootsy's Rubber Band,
The Buckinghams,
Junior Murvin,
Gil Scott-Heron and Jamie xx,
Kurtis Blow,
Cheater Slicks,
Sarah Menescal,
Model 500,
Young Marble Giants,
Vainqueur,
Funkadelic,
Darondo,
Bobby Womack,
Ten City,
The Fall,
Lyres,
Excepter,
A Flock of Seagulls,
Dennis Brown,
Major Organ And The Adding Machine,
UT,
Metal Thangz,
the Swans,
DJ Style,
Graham Central Station,
Pharaoh Sanders and the Fire Engines,
Dawn Penn,
Blancmange,
10cc,
Deutsch Amerikanische Freundschaft,
Swans,
New Age Steppers,
Fatback Band,
Roxette,
Albert Ayler,
Morten Harket,
Johnny Clarke,
China Crisis,
The Techniques,
Flamin' Groovies,
Barry Ungar,
ABC,
Soul Sonic Force,
Ronan,
KRS-One,
Pere Ubu,
Rakim,
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.