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 Bolivia and from Johannesburg.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Halifax and Paris.
I'm losing my edge to the art-school Madrid 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 spring reverb 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 The Monochrome Set 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 Captain Beefheart & His Magic Band. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every Dorothy Ashby 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Cure record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
The Wake,
Loose Ends,
Ultimate Spinach,
Funkadelic,
Teenage Jesus and the Jerks,
The Angels of Light,
Louis and Bebe Barron,
cv313,
Soft Machine,
The Fuzztones,
Kaleidoscope,
New Order,
Charles Mingus,
Qualms,
The Tremeloes,
Marvin Gaye,
Adolescents,
Grandmaster Flash,
Bobby Byrd,
Laurel Aitken,
the Human League,
Josef K,
Smog,
Alison Limerick,
Fugazi,
It's A Beautiful Day,
Cymande,
Ludus,
Avey Tare & Kría Brekkan,
Banda Bassotti,
Massinfluence,
Stetsasonic,
Ornette Coleman,
Lizzy Mercier Descloux,
Urselle,
Scan 7,
Surgeon,
Whodini,
The West Coast Pop Art Experimental Band,
The Pretty Things,
Althea and Donna,
Fear,
The Stooges,
Technova,
Arab on Radar,
Kerri Chandler,
8 Eyed Spy,
Marc Almond,
John Lydon,
The Men They Couldn't Hang,
The United States of America,
Zapp,
Vaughan Mason & Crew,
Carl Craig,
Television,
Schoolly D,
Dorothy Ashby,
Lungfish,
Wighnomy Brothers & Robag Wruhme,
Groovy Waters,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.