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 Korea North and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in Shanghai and Portland.
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 spring reverb 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 Mark Hollis to the jazz 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 Pagans. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Inner City,
Aural Exciters,
Kool G Rap & DJ Polo,
The Grass Roots,
Drexciya,
Amazonics,
Pantaleimon,
Minor Threat,
Soft Machine,
the Bar-Kays,
The Young Rascals,
Lalo Schifrin,
Loose Ends,
Nick Cave & The Bad Seeds,
Sandy B,
Avey Tare's Slasher Flicks,
Neu!,
Boredoms,
Magma,
Bauhaus,
Grauzone,
Piero Umiliani,
Pharoah Sanders,
Jawbox,
T.S.O.L.,
Lafayette Afro Rock Band,
The Pop Group,
DNA,
Lungfish,
Siglo XX,
Soulsonic Force,
Sad Lovers and Giants,
Goldenarms,
Subhumans,
Dawn Penn,
Popol Vuh,
Vaughan Mason & Crew,
Brass Construction,
Hasil Adkins,
Trumans Water,
F. McDonald,
Glambeats Corp.,
Ponytail,
Gong,
Johnny Clarke,
Ten City,
The Victims,
Harmonia,
Jeff Mills,
Deutsch Amerikanische Freundschaft,
Mark Hollis,
The Vogues,
The Moleskins,
Eli Mardock,
Erykah Badu,
Swell Maps,
48th St. Collective,
Arab on Radar,
Sexual Harrassment,
Dave Gahan,
Ornette Coleman,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
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.