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 Jordan and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Cairo.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 Ludus to the electroclash 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 LL Cool J. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every Ultramagnetic MC's 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin 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 spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Oneida,
Bob Dylan,
Ten City,
Fear,
The Men They Couldn't Hang,
The Golliwogs,
Moss Icon,
Janne Schatter,
UT,
D'Angelo,
Moby Grape,
Bootsy's Rubber Band,
Pierre Henry,
Peter and Kerry,
Zero Boys,
Loose Ends,
The Fuzztones,
Charles Mingus,
Cluster,
The Remains,
Avey Tare's Slasher Flicks,
Hasil Adkins,
Scion,
The Skatalites,
Connie Case,
Excepter,
Dawn Penn,
Brass Construction,
Accadde A,
James White and The Blacks,
Rowland S Howard / Lydia Lunch,
Ludus,
Lonnie Liston Smith,
Bush Tetras,
Al Stewart,
La Düsseldorf,
Kauko Röyhkä ja Narttu,
Hoover,
Scratch Acid,
Thompson Twins,
Funkadelic,
The Birthday Party,
The Mighty Diamonds,
Colin Newman,
The Knickerbockers,
the Slits,
The Music Machine,
Laurel Aitken,
DNA,
Boredoms,
The Count Five,
Lakeside,
The Real Kids,
Throbbing Gristle,
The Invisible,
The Evens,
Joensuu 1685,
Kayak,
The United States of America, The United States of America, The United States of America, The United States of America.
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.