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 Libya and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Lille and Manila.
I'm losing my edge to the art-school Calgary 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 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 James White and The Blacks to the punk 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 Fad Gadget. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every Alison Limerick 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ultimate Spinach record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
Gil Scott Heron,
Carl Craig,
The Music Machine,
Robert Hood,
Fort Wilson Riot,
Depeche Mode,
the Sonics,
Mantronix,
Brick,
Derrick May,
Captain Beefheart & His Magic Band,
Ohio Players,
the Swans,
UT,
Joe Smooth,
The Star Department,
Bobby Hutcherson,
Ash Ra Tempel,
Nick Fraelich,
Andrew Ashong & Theo Parrish,
Suicide,
Black Flag,
Tropical Tobacco,
Rotary Connection,
Gian Franco Pienzio,
H. Thieme,
Traffic Nightmare,
Popol Vuh,
Marvin Gaye,
Kayak,
Heavy D & The Boyz,
Matthew Bourne,
The Wake,
Deakin,
Lebanon Hanover,
Funky Four + One,
Aswad,
The Durutti Column,
Graham Central Station,
Thee Headcoats,
Sun Ra Arkestra,
The Knickerbockers,
Sly & The Family Stone,
AZ,
The Shadows of Knight,
Marmalade,
These Immortal Souls,
Roxette,
Avey Tare's Slasher Flicks,
Mo-Dettes,
Scion,
DJ Style,
Soft Machine,
Basic Channel,
Curtis Mayfield,
Duran Duran,
Pet Shop Boys,
Bootsy's Rubber Band,
Joe Finger,
The Smiths, The Smiths, The Smiths, The Smiths.
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.