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 Sudan and from Lille.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1978.
I'm losing my edge.
To all the kids in Manchester and Manila.
I'm losing my edge to the art-school Hong Kong 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the guitar sounds with much patience.
I was there when Tom Verlaine 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 Gil Scott Heron to the jazz kids.
I played it at CBGB's.
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 David Bowie. All the underground hits.
All The Cosmic Jokers tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal crunk 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 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cymande,
Dead Boys,
Colin Newman,
Brick,
Sly & The Family Stone,
The Standells,
Art Ensemble Of Chicago,
Gastr Del Sol,
Ossler,
Kool G Rap & DJ Polo,
LL Cool J,
Kauko Röyhkä ja Narttu,
Ken Boothe,
Avey Tare's Slasher Flicks,
Joyce Sims,
Alison Limerick,
OOIOO,
Negative Approach,
Cabaret Voltaire,
The Modern Lovers,
The Cowsills,
Ralphi Rosario,
Echo & the Bunnymen,
Pantytec,
Traffic Nightmare,
Desert Stars,
The Happenings,
Radiohead,
Bootsy's Rubber Band,
Q and Not U,
Peter Gordon & Love of Life Orchestra,
The Vogues,
Chris & Cosey,
Soft Cell,
Public Image Ltd.,
Vladislav Delay,
Andrew Ashong & Theo Parrish,
James Chance & The Contortions,
Zero Boys,
Lalann,
Zapp,
The Names,
Ponytail,
Ajijia Myrayebe,
Jeff Mills,
Bill Wells,
Arcadia,
Toni Rubio,
DNA,
Tres Demented,
Susan Cadogan,
Kerri Chandler,
Nik Kershaw,
CMW,
Sun City Girls,
Severed Heads,
Aural Exciters,
Gong,
Hashim,
Loose Ends,
Simply Red,
Marc Romboy vs. Booka Shade,
Sunsets and Hearts,
The Sound, The Sound, The Sound, The Sound.
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.