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 Suriname and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1973.
I'm losing my edge.
To all the kids in Spokane and Manchester.
I'm losing my edge to the art-school Toronto 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Sister Nancy to the dance kids.
I played it at Trash.
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 Electric Prunes tracks. I heard you have a vinyl of every The Sound 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 '70s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
a-ha,
Stockholm Monsters,
Pharaoh Sanders and the Fire Engines,
Terrestrial Tones,
Hoover,
Bobby Hutcherson,
Ken Boothe,
Junior Murvin,
The New Christs,
Johnny Clarke,
Eric B and Rakim,
Silicon Teens,
James Chance & The Contortions,
Steve Hackett,
The United States of America,
Scion,
A Flock of Seagulls,
Agitation Free,
Toni Rubio,
Fugazi,
John Coltrane,
Maleditus Sound,
Rod Modell,
Lizzy Mercier Descloux,
Fela Kuti,
Lalann,
The Gun Club,
Pantytec,
Brothers Johnson,
Gabor Szabo,
Davy DMX,
The Wake,
It's A Beautiful Day,
Yellowson,
The Vogues,
Throbbing Gristle,
The Sound,
Shuggie Otis,
Trumans Water,
Model 500,
Be Bop Deluxe,
DNA,
Oppenheimer Analysis,
Tom Boy,
Unrelated Segments,
Harry Pussy,
Jawbox,
This Heat,
Moby Grape,
Delon & Dalcan,
Notorious BIG live in Amsterdam,
Rhythm & Sound,
ABBA,
The Trojans,
Severed Heads,
Duran Duran,
Delta 5,
Subhumans,
Accadde A, Accadde A, Accadde A, Accadde A.
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.