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 Madagascar and from Paris.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Mexico City.
I'm losing my edge to the art-school New York 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Crispian St. Peters to the rock 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 The Electric Prunes. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
The Doobie Brothers,
Angry Samoans,
Amon Düül,
Brass Construction,
Swell Maps,
Joey Negro,
The Velvet Underground,
Ultravox,
Lonnie Liston Smith,
Mandrill,
Jandek,
Albert Ayler,
Flash Fearless,
Thompson Twins,
AZ,
The Flesh Eaters,
Technova,
Davy DMX,
Ultimate Spinach,
Lakeside,
Con Funk Shun,
The Grass Roots,
Eurythmics,
Loose Ends,
Man Eating Sloth,
The Doors,
Todd Rundgren,
Wally Richardson,
Alphaville,
The Cosmic Jokers,
Dennis Brown,
Severed Heads,
Grandmaster Flash and the Furious Five,
The Raincoats,
Gregory Isaacs,
Boogie Down Productions,
Quadrant,
Angels of Light & Akron/Family,
Strawberry Alarm Clock,
The Red Krayola,
James White and The Blacks,
The Associates,
The Alarm Clocks,
The Index,
The Fuzztones,
Max Romeo,
Bush Tetras,
Vaughan Mason & Crew,
ABBA,
Juan Atkins,
The Busters,
Fat Boys,
Roxette,
Eyeless In Gaza,
Chris & Cosey,
Schoolly D,
DeepChord presents Echospace,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.