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 Papua New Guinea and from Bologna.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1976.
I'm losing my edge.
To all the kids in Tehran and Salvador.
I'm losing my edge to the art-school Lille 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Von Mondo to the dance 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 Ohio Players. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Skarface record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Visage 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?
Big Daddy Kane,
The West Coast Pop Art Experimental Band,
F. McDonald,
Can,
Fugazi,
cv313,
Blossom Toes,
Stiv Bators,
ABBA,
Kenny Larkin,
The Litter,
DJ Sneak,
Sam Rivers,
Bootsy's Rubber Band,
Kurtis Blow,
Subhumans,
Peter & Gordon,
Josef K,
Nirvana,
Rakim,
Vainqueur,
U.S. Maple,
Gang of Four,
Stereo Dub,
The Seeds,
Pantytec,
the Swans,
Lebanon Hanover,
The Victims,
Country Joe & The Fish,
Sun Ra,
Man Parrish,
Pagans,
Notorious BIG live in Amsterdam,
Yaz,
Fifty Foot Hose,
Lightning Bolt,
Talk Talk,
The Knickerbockers,
Funky Four + One,
Teenage Jesus and the Jerks,
Max Romeo,
Franke,
Peter Gordon & Love of Life Orchestra,
Scott Walker,
The Smiths,
PIL,
Piero Umiliani,
Sight & Sound,
Minor Threat,
Notorious Big And Bone Thugs,
Delta 5,
The Sonics,
The Fugs,
Lakeside,
Scratch Acid,
Bobby Byrd,
Kings Of Tomorrow,
The Pop Group,
Alton Ellis,
The Young Rascals,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.