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 Australia and from Copenhagen.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school Hong Kong 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 linndrum 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 Lou Christie to the funk kids.
I played it at CBGB's.
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 Anthony Braxton. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Faraquet,
The Cure,
Popol Vuh,
Al Stewart,
Harry Pussy,
Q65,
The Fuzztones,
Arcadia,
Marcia Griffiths,
Tres Demented,
Traffic Nightmare,
Severed Heads,
Mark Hollis,
Leonard Cohen,
Pantaleimon,
Terrestrial Tones,
Kaleidoscope,
Cameo,
The Real Kids,
Gang Starr,
Dorothy Ashby,
The Sisters of Mercy,
Sällskapet,
David McCallum,
Andrew Hill,
June Days,
Black Sheep,
Black Bananas,
EPMD,
New Age Steppers,
Delta 5,
The Red Krayola,
Agitation Free,
Stockholm Monsters,
The Chocolate Watch Band,
Eyeless In Gaza,
Bluetip,
Lizzy Mercier Descloux,
Mission of Burma,
Kool Moe Dee,
Soft Machine,
Roy Ayers,
Little Man,
Howard Jones,
Eve St. Jones,
Althea and Donna,
Orchestral Manoeuvres in the Dark,
Country Joe & The Fish,
the Normal,
Jacob Miller,
Roy Ayers Ubiquity,
Khruangbin,
The Durutti Column,
the Association,
Mantronix,
Rites of Spring,
Tim Buckley,
Bill Near,
Faust,
Mr. Review,
Avey Tare,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.