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 United States and from Edmonton.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Spokane and Mumbai.
I'm losing my edge to the art-school London 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 linndrum 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 Brand Nubian to the rap 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 Scrapy. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Jimmy McGriff record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Television,
The Men They Couldn't Hang,
R.M.O.,
Warren Ellis,
Robert Görl,
Infiniti,
Susan Cadogan,
DeepChord presents Echospace,
Smog,
Ultravox,
Lou Reed & Metallica,
Amon Düül,
Graham Central Station,
Rod Modell,
Spandau Ballet,
The Vogues,
The Happenings,
Jacques Brel,
John Cale,
The Flesh Eaters,
Bobby Sherman,
Funky Four + One,
The Gladiators,
Inner City,
Thee Headcoats,
Minny Pops,
Dr. Dre and Snoop Doggy Dog,
Soul Sonic Force,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rekid,
Jandek,
The Mummies,
Laurel Aitken,
Outsiders,
Amon Düül II,
Peter Gordon & Love of Life Orchestra,
The Busters,
Angels of Light & Akron/Family,
It's A Beautiful Day,
Arthur Verocai,
Shuggie Otis,
Wasted Youth,
Brick,
Underground Resistance,
Brothers Johnson,
Eurythmics,
Bronski Beat,
Nation of Ulysses,
Maleditus Sound,
Swans,
Easy Going,
Gil Scott-Heron and Jamie xx,
Ultramagnetic MC's,
Bob Dylan,
Bootsy's Rubber Band,
Saccharine Trust,
Boz Scaggs,
James White and The Blacks,
the Association,
Organ,
Kas Product,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.