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 Finland and from Milan.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1979.
I'm losing my edge.
To all the kids in Columbus and Portland.
I'm losing my edge to the art-school Edmonton 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 chamberlin 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 Barbara Tucker to the rap kids.
I played it at the 40 Watt.
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 Marcia Griffiths. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Pete Rock & C.L. Smooth,
Minny Pops,
Spandau Ballet,
The Monochrome Set,
Organ,
Agitation Free,
Lou Reed & Metallica,
Eli Mardock,
Bill Near,
Arab on Radar,
Judy Mowatt,
Ronan,
Letta Mbulu,
Guru Guru,
Loose Ends,
Liaisons Dangereuses,
B.T. Express,
Interpol,
Blossom Toes,
Black Flag,
The Count Five,
Bang on a Can All-Stars,
Lou Reed & John Cale,
Dual Sessions,
The Victims,
The Real Kids,
It's A Beautiful Day,
Ronnie Foster,
Boz Scaggs,
Crispian St. Peters,
Ohio Players,
Sex Pistols,
DNA,
Eurythmics,
Warren Ellis,
Vainqueur,
AZ,
Boogie Down Productions,
Pierre Henry,
Kevin Saunderson,
Drexciya,
The Cowsills,
The Velvet Underground,
Lindisfarne,
Adolescents,
X-101,
Gastr Del Sol,
The Beau Brummels,
The Young Rascals,
Japan,
Lee Hazlewood,
Sly & The Family Stone,
Lalo Schifrin,
Trumans Water,
Altered Images,
Soft Cell,
Throbbing Gristle,
Marvin Gaye,
Louis and Bebe Barron,
Ponytail,
The Fugs,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.