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 Argentina and from Lyon.
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 1967 to 1977.
I'm losing my edge.
To all the kids in New York and Bologna.
I'm losing my edge to the art-school Lyon 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 snare sounds with much patience.
I was there when Robert Palmer 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 Blossom Toes to the electroclash kids.
I played it at the Crocodile.
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 Mark Hollis. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every The Velvet Underground 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs 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?
Deadbeat,
Soft Machine,
The United States of America,
Boogie Down Productions,
Nils Olav,
10cc,
Pharaoh Sanders and the Fire Engines,
The Royal Family And The Poor,
Stockholm Monsters,
Interpol,
John Foxx,
Laurel Aitken,
Black Flag,
Outsiders,
Mr. Review,
Kool G Rap & DJ Polo,
Freddie Wadling,
The Count Five,
Nick Cave & The Bad Seeds,
Deepchord,
The Shadows of Knight,
Connie Case,
Sexual Harrassment,
Vainqueur,
Lungfish,
Duran Duran,
Roy Ayers,
Eyeless In Gaza,
Vladislav Delay,
Oppenheimer Analysis,
Visage,
The Trojans,
Fad Gadget,
Marvin Gaye,
E-Dancer,
Gil Scott-Heron & Brian Jackson,
Bobby Hutcherson,
The West Coast Pop Art Experimental Band,
Gil Scott-Heron and Jamie xx,
Rowland S Howard / Lydia Lunch,
New York Dolls,
Pylon,
Strawberry Alarm Clock,
Rod Modell,
Lightning Bolt,
Oblivians,
Intrusion,
Alison Limerick,
Q and Not U,
The Modern Lovers,
Scion,
Absolute Body Control,
Scratch Acid,
X-Ray Spex,
Thinking Fellers Union Local 282,
Amon Düül,
Pantaleimon,
The Red Krayola,
Max Romeo,
Fatback Band,
Jacques Brel,
Gichy Dan,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.