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 Japan and from London.
But I was there.
I was there in .
I was there at the first Suicide 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 1960 to 1979.
I'm losing my edge.
To all the kids in London and Houston.
I'm losing my edge to the art-school Calgary 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Bob Dylan to the disco kids.
I played it at the Spitz.
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 The Neon Judgement. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Human League 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?
Nick Fraelich,
Beasts of Bourbon,
The Star Department,
Don Cherry,
Gabor Szabo,
Nik Kershaw,
Motorama,
Sun City Girls,
Moebius,
Von Mondo,
Whodini,
Lonnie Liston Smith,
EPMD,
Flash Fearless,
Junior Murvin,
Quando Quango,
The Black Dice,
Arcadia,
The Invisible,
Magazine,
Intrusion,
Rites of Spring,
Vaughan Mason & Crew,
R.M.O.,
The Cosmic Jokers,
Sixth Finger,
The Cure,
Scrapy,
Boogie Down Productions,
ABC,
Selector Dub Narcotic,
Alphaville,
Hardrive,
Warsaw,
Black Sheep,
Deadbeat,
Hot Snakes,
Panda Bear,
Super Lover Cee & Casanova Rud,
Can,
Gil Scott Heron,
The Names,
Patti Smith,
Tears for Fears,
Minor Threat,
Fatback Band,
Be Bop Deluxe,
Judy Mowatt,
F. McDonald,
Buzzcocks,
Model 500,
Bronski Beat,
World's Most,
Peter & Gordon,
The Smoke,
Rahsaan Roland Kirk,
X-102,
Popol Vuh,
Index,
Scan 7,
Oppenheimer Analysis,
Eyeless In Gaza,
the Slits,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.