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 Mozambique and from Stockholm.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Bremen and Calgary.
I'm losing my edge to the art-school Salvador 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Arthur Verocai to the dance kids.
I played it at Trash.
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 John Cale. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Dr. Dre and Snoop Doggy Dog record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Matthew Bourne,
Pantytec,
Maleditus Sound,
KRS-One,
Nirvana,
The Last Poets,
Marine Girls,
The Birthday Party,
Johnny Osbourne,
Brass Construction,
Althea and Donna,
Gil Scott-Heron and Jamie xx,
Jacob Miller,
Television,
Albert Ayler,
A Certain Ratio,
The New Christs,
Be Bop Deluxe,
The Buckinghams,
the Association,
Excepter,
The Gladiators,
Eric Dolphy,
Cecil Taylor,
X-101,
Godley & Creme,
Mark Hollis,
Man Parrish,
Rod Modell,
Moss Icon,
Jacques Brel,
Wolf Eyes,
The Searchers,
Richard Hell and the Voidoids,
Sun City Girls,
Don Cherry,
Rotary Connection,
Parry Music,
Gian Franco Pienzio,
Orchestral Manoeuvres in the Dark,
Black Pus,
Fluxion,
Ronan,
Loose Ends,
Peter and Kerry,
June Days,
Max Romeo,
Red Lorry Yellow Lorry,
Circle Jerks,
The Men They Couldn't Hang,
Nils Olav,
Bronski Beat,
Scott Walker + Sunn O))),
Dead Boys,
Popol Vuh,
the Normal,
Altered Images,
The Names,
Grandmaster Flash and the Furious Five,
Warren Ellis,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.