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 Yemen and from Edmonton.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Milan and Portland.
I'm losing my edge to the art-school Sao Paulo 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Aaron Thompson to the jazz 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 Ultimate Spinach. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Skriet record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Camouflage,
the Slits,
Art Ensemble Of Chicago,
Gil Scott-Heron & Brian Jackson,
Jacob Miller,
Skaos,
Carl Craig,
Laurel Aitken,
Juan Atkins,
Ultravox,
Avey Tare's Slasher Flicks,
Arab on Radar,
Sound Behaviour,
Harry Pussy,
Bootsy Collins,
Sandy B,
Amon Düül II,
Albert Ayler,
Sällskapet,
The West Coast Pop Art Experimental Band,
Technova,
Todd Rundgren,
James Chance & The Contortions,
Barclay James Harvest,
The Remains,
Outsiders,
Maurizio,
Suicide,
Main Source,
Kas Product,
Dual Sessions,
Andrew Ashong & Theo Parrish,
Tomorrow,
Blossom Toes,
Procol Harum,
Nation of Ulysses,
Vainqueur,
kango's stein massive,
The Fugs,
Mars,
Susan Cadogan,
Minnie Riperton,
Stetsasonic,
Red Lorry Yellow Lorry,
Malaria!,
Flash Fearless,
Loose Ends,
June of 44,
Agitation Free,
Lizzy Mercier Descloux,
Das Ding,
Angry Samoans,
Cecil Taylor,
the Germs,
Ultimate Spinach,
Eden Ahbez,
DNA,
Kerrie Biddell,
X-Ray Spex,
Metal Thangz,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.