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 Ukraine and from Tehran.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Madrid.
I'm losing my edge to the art-school Cairo 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 marimba sounds with much patience.
I was there when Lou Reed 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 Depeche Mode to the electroclash 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 Rekid. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every The Jesus and Mary Chain 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pagans,
MDC,
The Motions,
MC5,
John Cale,
Vaughan Mason & Crew,
PIL,
Tears for Fears,
Fela Kuti,
Nik Kershaw,
The Music Machine,
The Doobie Brothers,
Pete Rock & C.L. Smooth,
Cluster,
Barrington Levy,
Grauzone,
Brothers Johnson,
T.S.O.L.,
Malaria!,
Jawbox,
Byron Stingily,
The Pretty Things,
Loose Ends,
Jeff Mills,
Major Organ And The Adding Machine,
Matthew Halsall,
Lizzy Mercier Descloux,
Larry & the Blue Notes,
Pussy Galore,
Dual Sessions,
The Fortunes,
The Offenders,
Ludus,
Masters at Work,
Banda Bassotti,
Arthur Verocai,
FM Einheit,
The Saints,
Supertramp,
Slave,
Judy Mowatt,
Piero Umiliani,
The Beau Brummels,
ABC,
The Knickerbockers,
Boogie Down Productions,
Thee Headcoats,
The Dave Clark Five,
Spoonie Gee,
Wire,
R.M.O.,
Tom Boy,
F. McDonald,
Adolescents,
The Shadows of Knight,
Scan 7,
Joy Division,
James White and The Blacks,
June Days,
Livin' Joy,
Half Japanese,
La Düsseldorf,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.