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 South and from Tokyo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
I'm losing my edge to the art-school Spokane 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 organ 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 Susan Cadogan to the grunge 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 Richard Hell and the Voidoids. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal dance 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
The Knickerbockers,
The Gun Club,
Popol Vuh,
Gichy Dan,
Porter Ricks,
Glambeats Corp.,
The Pop Group,
Adolescents,
Lungfish,
Groovy Waters,
Dark Day,
UT,
Sex Pistols,
The Beau Brummels,
Au Pairs,
Franke,
Bootsy's Rubber Band,
Nick Fraelich,
Big Daddy Kane,
Trumans Water,
The Doors,
Audionom,
Eric B and Rakim,
10cc,
The Mummies,
Ralphi Rosario,
Cabaret Voltaire,
Silicon Teens,
Lakeside,
ABBA,
Nick Cave & The Bad Seeds,
Ronan,
Alphaville,
Sällskapet,
Marc Almond,
Gerry Rafferty,
Magma,
Kurtis Blow,
The Dead C,
Janne Schatter,
the Soft Cell,
Little Man,
Lalann,
De La Soul & Jungle Brothers,
Barry Ungar,
Magazine,
Darondo,
Aural Exciters,
The Residents,
Vladislav Delay,
Michelle Simonal,
Lebanon Hanover,
Kayak,
Radiohead,
Jawbox,
Smog,
Albert Ayler,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.