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 Solomon Islands and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Bologna and Spokane.
I'm losing my edge to the art-school Paris 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 Donald Fagen 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 Alison Limerick to the electroclash kids.
I played it at the Astoria.
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 Darondo. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every The Cure record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Cluster,
Crash Course in Science,
Crispian St. Peters,
Saccharine Trust,
Lou Reed & John Cale,
Leonard Cohen,
The Trojans,
The Dirtbombs,
Gerry Rafferty,
Section 25,
The Mojo Men,
Be Bop Deluxe,
Wally Richardson,
Magma,
Grauzone,
Fela Kuti,
The Fire Engines,
Barry Ungar,
Ossler,
Liaisons Dangereuses,
Neil Young,
Black Pus,
The Doors,
The Young Rascals,
Jesper Dahlbäck,
Mary Jane Girls,
Moby Grape,
Negative Approach,
The Cramps,
Rosa Yemen,
Hashim,
Mad Mike,
Moss Icon,
Gregory Isaacs,
Jeff Lynne,
Interpol,
The Associates,
Junior Murvin,
Q and Not U,
This Heat,
Howard Jones,
The Leaves,
Ronnie Foster,
Bob Dylan,
Mo-Dettes,
The Gladiators,
Eve St. Jones,
Bang On A Can,
the Association,
Carl Craig,
Sixth Finger,
Blancmange,
Ultramagnetic MC's,
Scientists,
Magazine,
Wighnomy Brothers & Robag Wruhme,
The Moleskins,
Wire,
Accadde A,
The Tremeloes,
Boogie Down Productions,
Bobby Womack,
Ronan, Ronan, Ronan, Ronan.
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.