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 Bhutan and from Manchester.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Columbus and Johannesburg.
I'm losing my edge to the art-school Copenhagen 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Mad Mike to the grime 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 Blossom Toes. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every John Cale 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 '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Todd Rundgren,
Marine Girls,
Organ,
Minutemen,
Electric Light Orchestra,
New York Dolls,
Faust,
Faraquet,
The Electric Prunes,
Roy Ayers Ubiquity,
Khruangbin,
The Kinks,
The Names,
Tres Demented,
Soft Machine,
Boredoms,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Index,
8 Eyed Spy,
the Slits,
Avey Tare's Slasher Flicks,
X-Ray Spex,
Steve Hackett,
Junior Murvin,
Nik Kershaw,
Negative Approach,
Gil Scott-Heron and Jamie xx,
Camberwell Now,
Teenage Jesus and the Jerks,
Colin Newman,
Aural Exciters,
Graham Central Station,
the Normal,
The Blues Magoos,
The Motions,
Sugar Minott,
Eve St. Jones,
Amon Düül,
Adolescents,
Royal Trux,
Sarah Menescal,
DeepChord presents Echospace,
the Sonics,
Marmalade,
Larry & the Blue Notes,
The Modern Lovers,
The Sisters of Mercy,
Hot Snakes,
Gregory Isaacs,
Ossler,
Big Daddy Kane,
Nils Olav,
Alice Coltrane,
Richard Hell and the Voidoids,
Terrestrial Tones,
Average White Band,
Anakelly,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.