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 Sudan and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1973.
I'm losing my edge.
To all the kids in Manchester and Bologna.
I'm losing my edge to the art-school Mexico City 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 oboe 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 Roy Ayers to the techno kids.
I played it at the Roxy.
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 Kool G Rap & DJ Polo. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Joey Negro record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Drive Like Jehu,
Khruangbin,
Strawberry Alarm Clock,
Dave Gahan,
Pussy Galore,
Mandrill,
Letta Mbulu,
Liaisons Dangereuses,
Dual Sessions,
Deadbeat,
Sound Behaviour,
Urselle,
Man Eating Sloth,
Orchestral Manoeuvres in the Dark,
EPMD,
Interpol,
Al Stewart,
10cc,
Gong,
Skarface,
Judy Mowatt,
Mars,
Warsaw,
Jawbox,
Kaleidoscope,
Glambeats Corp.,
Agitation Free,
Minny Pops,
The Smoke,
Panda Bear,
Arab on Radar,
Oneida,
Be Bop Deluxe,
Jimmy McGriff,
The Skatalites,
Scientists,
The Detroit Cobras,
48th St. Collective,
Kango’s Stein Massive,
Crispian St. Peters,
Skaos,
Jandek,
Gang of Four,
the Fania All-Stars,
Fort Wilson Riot,
Kauko Röyhkä ja Narttu,
the Swans,
Kings Of Tomorrow,
The Zeros,
Neu!,
The Monochrome Set,
The Divine Comedy,
Danielle Patucci,
Scion,
Goldenarms,
Althea and Donna,
Au Pairs,
Lonnie Liston Smith,
DJ Style,
Agent Orange,
The Sisters of Mercy,
Radiopuhelimet,
Hoover,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.