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 Papua New Guinea and from Paris.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1973.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Lightning Bolt to the rock kids.
I played it at the 40 Watt.
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 Thompson Twins. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal electroclash 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Bang on a Can All-Stars,
The Smoke,
The Monks,
Derrick May,
The Slits,
These Immortal Souls,
CMW,
Crooked Eye,
Bronski Beat,
Dorothy Ashby,
Judy Mowatt,
The Litter,
Bad Manners,
Tears for Fears,
Amazonics,
Crispy Ambulance,
Echospace,
Siglo XX,
The Remains,
Saccharine Trust,
Lower 48,
Swell Maps,
Ultra Naté,
Althea and Donna,
Al Stewart,
Q and Not U,
Terry Callier,
Ajijia Myrayebe,
Yazoo,
Accadde A,
Rosa Yemen,
DeepChord presents Echospace,
Fifty Foot Hose,
David Axelrod,
Lou Christie,
Lou Reed & Metallica,
John Cale,
Arab on Radar,
Underground Resistance,
Livin' Joy,
Alice Coltrane,
Make Up,
Derrick Morgan,
R.M.O.,
Scott Walker + Sunn O))),
The Men They Couldn't Hang,
Absolute Body Control,
Mo-Dettes,
Motorama,
Scientists,
Nils Olav,
Porter Ricks,
Siouxsie and the Banshees,
Unwound,
Stockholm Monsters,
Blancmange,
Liliput,
Kevin Saunderson,
Gian Franco Pienzio,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.