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 Papua New Guinea and from Bologna.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Lyon.
I'm losing my edge to the art-school Tehran 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 guitar 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 Country Joe & The Fish to the rap kids.
I played it at the Hacienda.
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 China Crisis. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Bobby Hutcherson record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Marc Romboy vs. Booka Shade,
Radio Birdman,
The Cowsills,
Model 500,
Drive Like Jehu,
The Sound,
Zapp,
The New Christs,
The Velvet Underground,
Basic Channel,
The Birthday Party,
Kerri Chandler,
Bush Tetras,
Alphaville,
The Saints,
Sparks,
Oppenheimer Analysis,
The Doobie Brothers,
Pagans,
The Seeds,
Eddi Front,
Cameo,
Todd Rundgren,
Underground Resistance,
Siouxsie and the Banshees,
De La Soul & Jungle Brothers,
Ossler,
Kool G Rap & DJ Polo,
Wire,
The Dead C,
The Divine Comedy,
Moss Icon,
Ajijia Myrayebe,
Nick Fraelich,
The Invisible,
Ponytail,
The Flesh Eaters,
Fluxion,
Ash Ra Tempel,
Swans,
Guru Guru,
AZ,
Henry Cow,
Con Funk Shun,
The Dave Clark Five,
Stetsasonic,
Beasts of Bourbon,
The Cure,
Public Image Ltd.,
PIL,
It's A Beautiful Day,
cv313,
Excepter,
John Foxx,
Andrew Ashong & Theo Parrish,
Matthew Halsall,
Barry Ungar,
Bobbi Humphrey,
Qualms,
The Trojans,
Aaron Thompson,
Sister Nancy,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.