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 Botswana and from Toronto.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Johannesburg.
I'm losing my edge to the art-school Spokane 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer 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 Niagra to the crunk kids.
I played it at CBGB's.
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 U.S. Maple tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Max Romeo,
The Five Americans,
Crooked Eye,
Davy DMX,
Bill Wells,
The Leaves,
Visionaries,LMNO, T- Love & Iriscience,
Janne Schatter,
Barclay James Harvest,
Excepter,
Sonic Youth,
Deutsch Amerikanische Freundschaft,
The Cramps,
Frankie Knuckles,
Bang On A Can,
UT,
Yusef Lateef,
Grey Daturas,
John Coltrane,
Black Bananas,
Morten Harket,
Peter and Kerry,
Grandmaster Flash,
The Cowsills,
Warsaw,
Thompson Twins,
Gichy Dan,
The Men They Couldn't Hang,
8 Eyed Spy,
The Standells,
Bluetip,
The Victims,
Gong,
KRS-One,
The Fortunes,
Matthew Bourne,
Delon & Dalcan,
The Doors,
Schoolly D,
The Trojans,
Von Mondo,
Ultramagnetic MC's,
kango's stein massive,
Pete Rock & C.L. Smooth,
Goldenarms,
Spoonie Gee,
Fort Wilson Riot,
The Jesus and Mary Chain,
Howard Jones,
Stiv Bators,
Lakeside,
Sparks,
Roger Hodgson,
Sticky Fingaz feat. Raekwon,
Art Ensemble Of Chicago,
Kenny Larkin,
Bootsy's Rubber Band,
Ornette Coleman,
10cc,
The Walker Brothers,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.