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 Azerbaijan and from Accra.
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 1974.
I'm losing my edge.
To all the kids in Edmonton and Bremen.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
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 Juan Atkins to the disco kids.
I played it at the Crocodile.
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 Smog. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal crunk 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 snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
Sly & The Family Stone,
The Tremeloes,
The Kinks,
Scrapy,
Kerri Chandler,
Rekid,
Faust,
The Divine Comedy,
Orchestral Manoeuvres in the Dark,
Country Joe & The Fish,
Flamin' Groovies,
ABC,
Sun Ra,
Grauzone,
Brand Nubian,
Joe Smooth,
Piero Umiliani,
The Doobie Brothers,
Warren Ellis,
The Saints,
Flash Fearless,
Peter & Gordon,
The Motions,
Josef K,
Ultimate Spinach,
Jerry's Kids,
The Beau Brummels,
Avey Tare,
X-102,
The Fortunes,
Saccharine Trust,
One Last Wish,
Black Sheep,
Al Stewart,
Qualms,
Eric Copeland,
Clear Light,
Harry Pussy,
The Star Department,
AZ,
The Alarm Clocks,
Crash Course in Science,
Amon Düül,
The Cowsills,
The Invisible,
Ludus,
L. Decosne,
Dead Boys,
Mandrill,
Girls At Our Best!,
Camron Feat. Memphis Bleek And Beenie Seigel,
Thompson Twins,
Black Flag,
Amon Düül II,
Scott Walker,
Ossler,
Radio Birdman,
Lee Hazlewood,
Andrew Hill,
The Modern Lovers,
Inner City,
Man Eating Sloth,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.