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 Russia and from Lille.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
I'm losing my edge to the art-school Cairo 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Metal Thangz to the funk 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 Black Flag. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Rotary Connection record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's 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?
Kool Moe Dee,
Mad Mike,
Lakeside,
Minnie Riperton,
Neil Young & Crazy Horse,
The Five Americans,
The Gun Club,
Joensuu 1685,
Icehouse,
Motorama,
The Grass Roots,
Lucky Dragons,
Boredoms,
Cal Tjader,
Gil Scott Heron,
Panda Bear,
Gang Starr,
Todd Rundgren,
Big Daddy Kane,
Nils Olav,
Mantronix,
The Pop Group,
Pole,
Fela Kuti,
Aswad,
Pet Shop Boys,
Mars,
Yellowson,
James White and The Blacks,
Lou Reed & John Cale,
MDC,
Cheater Slicks,
Sun Ra Arkestra,
Toni Rubio,
the Association,
Wire,
Au Pairs,
Minny Pops,
the Germs,
Supertramp,
Eyeless In Gaza,
Procol Harum,
AZ,
Crispy Ambulance,
The Tremeloes,
Young Marble Giants,
Eric Copeland,
Deepchord,
Drexciya,
Country Joe & The Fish,
CMW,
The Velvet Underground,
Nas,
Ornette Coleman,
The Walker Brothers,
Heavy D & The Boyz,
Black Pus,
Marc Romboy vs. Booka Shade,
Thinking Fellers Union Local 282,
The Red Krayola,
The Mighty Diamonds,
Sam Rivers,
Visage, Visage, Visage, Visage.
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.