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 Lesotho and from Philadelphia.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Portland and Tokyo.
I'm losing my edge to the art-school Seoul 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 sitar sounds with much patience.
I was there when David Bowie 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 The Names to the electroclash kids.
I played it at Cafe Wha.
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 New York Dolls. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sparks record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
The Shadows of Knight,
Flash Fearless,
Youth Brigade,
Siouxsie and the Banshees,
Crooked Eye,
Fluxion,
Ohio Players,
Bang on a Can All-Stars,
Crash Course in Science,
Eric B and Rakim,
Joe Finger,
Soft Cell,
Alphaville,
The Velvet Underground,
Eurythmics,
Gary Puckett & The Union Gap,
The Associates,
Inner City,
Grandmaster Flash and the Furious Five,
Susan Cadogan,
Massinfluence,
Kas Product,
Aswad,
Quantec,
Bobbi Humphrey,
Josef K,
Marine Girls,
The Star Department,
The Trojans,
Hardrive,
Todd Terry,
Vainqueur,
Fatback Band,
Jacob Miller,
Manfred Mann's Earth Band,
Iggy Pop,
The Last Poets,
Eden Ahbez,
Aural Exciters,
Minor Threat,
the Germs,
MDC,
a-ha,
The Fugs,
Jimmy McGriff,
8 Eyed Spy,
Henry Cow,
John Coltrane,
T.S.O.L.,
Jawbox,
The Detroit Cobras,
Lakeside,
Wings,
Magma,
A Flock of Seagulls,
Nik Kershaw,
Deadbeat,
Gil Scott-Heron and Jamie xx,
Brass Construction,
Big Daddy Kane,
Connie Case,
Juan Atkins,
Cluster, Cluster, Cluster, Cluster.
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.