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 Honduras and from Lyon.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Accra.
I'm losing my edge to the art-school Bologna 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the spring reverb 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 Gregory Isaacs to the dance kids.
I played it at the Hacienda.
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 Brothers Johnson. All the underground hits.
All Pagans tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Prince Buster,
Idris Muhammad,
Swans,
Joey Negro,
Yellowson,
Grandmaster Flash,
Franke,
Brand Nubian,
Smog,
Chris Corsano,
Japan,
Popol Vuh,
Dorothy Ashby,
Maurizio,
Sun Ra Arkestra,
New Age Steppers,
Von Mondo,
Big Daddy Kane,
Dave Gahan,
The Moody Blues,
DJ Style,
Deadbeat,
H. Thieme,
Gabor Szabo,
Nick Cave & The Bad Seeds,
Grandmaster Flash and the Furious Five,
Donald Byrd,
Crash Course in Science,
The Young Rascals,
Alice Coltrane,
Simply Red,
Country Joe & The Fish,
Joensuu 1685,
Lindisfarne,
The Dave Clark Five,
Skarface,
New York Dolls,
R.M.O.,
Brass Construction,
The Victims,
Gregory Isaacs,
Agitation Free,
Pagans,
Funkadelic,
Pet Shop Boys,
Marshall Jefferson,
Gong,
UT,
Aswad,
The Searchers,
Crime,
A Certain Ratio,
Eve St. Jones,
The Velvet Underground,
the Association,
Section 25,
Byron Stingily,
Suburban Knight,
T.S.O.L.,
The Residents,
Flash Fearless,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.