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 Switzerland and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Halifax and Shanghai.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Mo-Dettes to the jazz kids.
I played it at the 40 Watt.
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 Sarah Menescal. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Soulsonic Force 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Qualms,
ABC,
Cabaret Voltaire,
F. McDonald,
The Neon Judgement,
Funkadelic,
Yusef Lateef,
Can,
John Holt,
Jimmy McGriff,
Nico,
Cameo,
Minnie Riperton,
Clear Light,
Eric Dolphy,
Selector Dub Narcotic,
Pylon,
Grauzone,
Joensuu 1685,
Liaisons Dangereuses,
Carl Craig,
Von Mondo,
Gang of Four,
The American Breed,
Scott Walker + Sunn O))),
Blake Baxter,
Trumans Water,
Aural Exciters,
Pharaoh Sanders and the Fire Engines,
Second Layer,
Black Sheep,
Arab on Radar,
Ludus,
Crime,
Patti Smith,
Arthur Verocai,
The Smiths,
Swans,
The Toasters,
Soul II Soul,
Neil Young & Crazy Horse,
Mars,
Sex Pistols,
Todd Rundgren,
Goldenarms,
Rites of Spring,
Hot Snakes,
Royal Trux,
Tubeway Army,
Jesper Dahlback,
Dave Gahan,
Bob Dylan,
Gichy Dan,
The Index,
Louis and Bebe Barron,
Livin' Joy,
Pulsallama,
Wolf Eyes,
Jerry's Kids,
D'Angelo,
Rhythim Is Rhythim,
John Cale,
Delta 5,
10cc, 10cc, 10cc, 10cc.
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.