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 Uruguay and from Stockholm.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1976.
I'm losing my edge.
To all the kids in Paris and Lyon.
I'm losing my edge to the art-school Columbus 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 oboe 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 The Jesus and Mary Chain to the jazz kids.
I played it at the Astoria.
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 Tom Boy. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal disco 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 a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
MDC,
Bobbi Humphrey,
Richard Hell and the Voidoids,
Anakelly,
Roy Ayers,
The Knickerbockers,
Malaria!,
Procol Harum,
Jerry Gold Smith,
Cameo,
Bauhaus,
Eric Copeland,
Reuben Wilson,
The Dirtbombs,
Section 25,
A Certain Ratio,
Metal Thangz,
Deakin,
Radio Birdman,
Lafayette Afro Rock Band,
Kaleidoscope,
World's Most,
The Cowsills,
Public Image Ltd.,
Idris Muhammad,
Alison Limerick,
Supertramp,
Aaron Thompson,
Mad Mike,
Fad Gadget,
Avey Tare,
Lebanon Hanover,
Derrick May,
Pierre Henry,
Chris & Cosey,
Stetsasonic,
Electric Light Orchestra,
Ultravox,
The Remains,
Bill Wells,
Los Fastidios,
Index,
Nico,
Anthony Braxton,
Icehouse,
Ituana,
Goldenarms,
Sandy B,
Vladislav Delay,
Motorama,
Scan 7,
Fort Wilson Riot,
Sixth Finger,
Manfred Mann's Earth Band,
Susan Cadogan,
Scrapy,
The Real Kids,
Harpers Bizarre,
Desert Stars,
The Angels of Light,
The Peanut Butter Conspiracy,
The Men They Couldn't Hang,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.