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 Mali and from Salvador.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Spokane.
I'm losing my edge to the art-school Mumbai 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 mellotron 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 Roxette to the rap kids.
I played it at Trash.
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 The Count Five. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Con Funk Shun,
This Heat,
Gil Scott Heron,
The Modern Lovers,
Rahsaan Roland Kirk,
Terry Callier,
Crooked Eye,
Fela Kuti,
Arcadia,
Von Mondo,
Tommy Roe,
The Saints,
Nas,
Sparks,
Severed Heads,
Cameo,
Echo & the Bunnymen,
Los Fastidios,
Scott Walker,
Kevin Saunderson,
Teenage Jesus and the Jerks,
Mantronix,
Q65,
Ice-T,
Terrestrial Tones,
Minor Threat,
The Sisters of Mercy,
Camron Feat. Jay Z And Juelz,
Robert Görl,
Susan Cadogan,
Laurel Aitken,
Sight & Sound,
Aswad,
Masters at Work,
Dennis Brown,
Kayak,
Quantec,
Howard Jones,
10cc,
The Happenings,
Scratch Acid,
Duran Duran,
the Soft Cell,
Sandy B,
Hashim,
Matthew Bourne,
Brand Nubian,
Rhythm & Sound,
Erykah Badu,
Bobby Sherman,
The Sound,
The Smiths,
Avey Tare & Kría Brekkan,
Fifty Foot Hose,
Sun Ra,
Siglo XX,
Banda Bassotti,
Theoretical Girls,
Rotary Connection,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.