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 Bulgaria and from Shanghai.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Madrid 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 spring reverb 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 H. Thieme to the punk kids.
I played it at the Troubador.
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 Reuben Wilson. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Tomorrow 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Cabaret Voltaire,
Deutsch Amerikanische Freundschaft,
Slick Rick,
A Flock of Seagulls,
Jeff Mills,
Traffic Nightmare,
David Axelrod,
Public Enemy,
JFA,
Camouflage,
Art Ensemble Of Chicago,
Crash Course in Science,
Duran Duran,
Black Flag,
Angry Samoans,
Roy Ayers Ubiquity,
The Wake,
The Trojans,
Piero Umiliani,
Graham Central Station,
Danielle Patucci,
Desert Stars,
Deadbeat,
Bronski Beat,
The Dave Clark Five,
MC5,
Brass Construction,
Suburban Knight,
Sonic Youth,
Hot Snakes,
Cluster,
Matthew Bourne,
Eddi Front,
Michelle Simonal,
Donny Hathaway,
One Last Wish,
Erykah Badu,
Harry Pussy,
Albert Ayler,
Ituana,
Faraquet,
Donald Byrd,
Sister Nancy,
Thompson Twins,
Lyres,
Flipper,
The Mighty Diamonds,
Roxette,
Scan 7,
The Fortunes,
Jandek,
Carl Craig,
Echospace,
The Invisible,
Bauhaus,
the Normal,
10cc,
Negative Approach,
Kauko Röyhkä ja Narttu,
48th St. Collective,
Maleditus Sound,
Nas, Nas, Nas, Nas.
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.