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 Pakistan and from Tokyo.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Woodstock and New York.
I'm losing my edge to the art-school Houston 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 Captain Beefheart 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 The Sound to the electroclash kids.
I played it at Cafe Wha.
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 UT. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal jazz 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 a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Marmalade,
Fluxion,
Reuben Wilson,
Underground Resistance,
Black Flag,
Smog,
Nas,
Suicide,
Cecil Taylor,
Angels of Light & Akron/Family,
Wolf Eyes,
Suburban Knight,
Lalann,
The Beau Brummels,
JFA,
June Days,
Gil Scott Heron,
Newcleus,
The Sound,
The Real Kids,
Pharaoh Sanders and the Fire Engines,
Con Funk Shun,
Morten Harket,
Lindisfarne,
Gil Scott-Heron and Jamie xx,
X-Ray Spex,
Arcadia,
Stiv Bators,
Jacques Brel,
Motorama,
Robert Wyatt,
Scratch Acid,
Henry Cow,
Dorothy Ashby,
Sugar Minott,
The Gun Club,
Half Japanese,
Tim Buckley,
Avey Tare's Slasher Flicks,
Jimmy McGriff,
Kas Product,
Goldenarms,
The Electric Prunes,
The Mummies,
The Detroit Cobras,
Parry Music,
Eddi Front,
Talk Talk,
Rites of Spring,
Boz Scaggs,
Jesper Dahlback,
The Doors,
Nico,
Erasure,
E-Dancer,
The Walker Brothers,
Little Man,
Girls At Our Best!,
John Holt,
The American Breed,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.