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 Sweden and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1970.
I'm losing my edge.
To all the kids in Stockholm and Mumbai.
I'm losing my edge to the art-school Manila 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 Blake Baxter to the electroclash kids.
I played it at the Crocodile.
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 The Slits. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Visage,
CMW,
Bronski Beat,
Sugar Minott,
Art Ensemble Of Chicago,
New Age Steppers,
The Gap Band,
Scott Walker,
Jandek,
Todd Terry,
Joyce Sims,
Bluetip,
Sly & The Family Stone,
Gian Franco Pienzio,
Intrusion,
the Normal,
Mission of Burma,
The New Christs,
Crime,
The Remains,
Black Bananas,
Bobbi Humphrey,
Moby Grape,
The Sonics,
Albert Ayler,
Peter & Gordon,
Ludus,
Bang on a Can All-Stars,
Mars,
June Days,
Darondo,
Captain Beefheart & His Magic Band,
Sonny Sharrock,
Gabor Szabo,
Aaron Thompson,
Henry Cow,
The Pretty Things,
Kerri Chandler,
Jeff Lynne,
The Smoke,
PIL,
Visionaries,LMNO, T- Love & Iriscience,
The Music Machine,
Echospace,
Deadbeat,
Rhythm & Sound,
Ten City,
The Cowsills,
Theoretical Girls,
Junior Murvin,
Mantronix,
Clear Light,
Gang Green,
Drive Like Jehu,
Zapp,
Sister Nancy,
Robert Hood,
Don Cherry,
Lou Reed,
The Raincoats,
Fluxion, Fluxion, Fluxion, Fluxion.
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.