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 Somalia and from Paris.
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 1961 to 1973.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school Edmonton 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 harpsichord 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 48th St. Collective to the punk kids.
I played it at the Spitz.
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 Alphaville. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Motorama 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
The Saints,
Scott Walker + Sunn O))),
Sound Behaviour,
Todd Rundgren,
The West Coast Pop Art Experimental Band,
Moebius,
Pet Shop Boys,
Major Organ And The Adding Machine,
Bill Near,
Carl Craig,
The Raincoats,
Q65,
Gil Scott-Heron & Brian Jackson,
Bronski Beat,
Blossom Toes,
Johnny Clarke,
The Sound,
The Evens,
The Martian,
Dave Gahan,
Masters at Work,
Fort Wilson Riot,
Scrapy,
Man Eating Sloth,
Anthony Braxton,
Jerry Gold Smith,
Brick,
Warren Ellis,
Royal Trux,
Crispian St. Peters,
Liliput,
Louis and Bebe Barron,
Pete Rock & C.L. Smooth,
Rakim,
Soft Machine,
Dual Sessions,
The Shadows of Knight,
The Busters,
the Fania All-Stars,
Ludus,
Sun Ra Arkestra,
Amon Düül II,
Althea and Donna,
Lizzy Mercier Descloux,
Half Japanese,
Janne Schatter,
Country Teasers,
The Divine Comedy,
New York Dolls,
John Cale,
Gong,
R.M.O.,
Barry Ungar,
Marvin Gaye,
Icehouse,
Nas,
Jeru the Damaja,
The Zeros,
Marmalade,
Slick Rick,
T. Rex,
Max Romeo,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.