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 Vietnam and from Tokyo.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Lyon.
I'm losing my edge to the art-school Milan 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 Captain Beefheart 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 Q65 to the techno 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 Jeru the Damaja. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
DNA,
MDC,
B.T. Express,
Crime,
Saccharine Trust,
Tom Boy,
Warsaw,
Andrew Ashong & Theo Parrish,
Tomorrow,
The Index,
Clear Light,
Kenny Larkin,
Colin Newman,
The Standells,
Gregory Isaacs,
Mr. Review,
Brick,
Inner City,
Bill Wells,
Excepter,
Strawberry Alarm Clock,
the Sonics,
Kool G Rap & DJ Polo,
This Heat,
Reuben Wilson,
Gary Puckett & The Union Gap,
Dave Gahan,
Hasil Adkins,
Amazonics,
Eyeless In Gaza,
Nik Kershaw,
Skriet,
Gang Green,
Vaughan Mason & Crew,
Nirvana,
Arcadia,
L. Decosne,
Hot Snakes,
The Moleskins,
Gil Scott-Heron & Brian Jackson,
The Dead C,
Young Marble Giants,
T. Rex,
China Crisis,
Justin Hinds & The Dominoes,
Ponytail,
Easy Going,
Pulsallama,
the Swans,
Marc Romboy vs. Booka Shade,
Mission of Burma,
Mark Hollis,
FM Einheit,
Black Moon,
F. McDonald,
Kerrie Biddell,
Oppenheimer Analysis,
Bob Dylan,
John Lydon,
John Cale,
June of 44, June of 44, June of 44, June of 44.
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.