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 Pakistan and from Stockholm.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
I'm losing my edge to the art-school Madrid 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Big Daddy Kane to the punk kids.
I played it at the Roxy.
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 B.T. Express. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Slave,
The Count Five,
Barclay James Harvest,
Wolf Eyes,
Bizarre Inc.,
The Offenders,
Hashim,
Joyce Sims,
Parry Music,
Television Personalities,
Urselle,
Tomorrow,
Robert Hood,
The Cure,
Roxette,
Skriet,
Jawbox,
Grandmaster Flash and the Furious Five,
The Young Rascals,
The Kinks,
DNA,
Animal Collective,
The Busters,
The Doors,
The Jesus and Mary Chain,
Panda Bear,
Stetsasonic,
Red Lorry Yellow Lorry,
The Royal Family And The Poor,
Pete Rock & C.L. Smooth,
Minutemen,
Pylon,
Aaron Thompson,
Lindisfarne,
Vladislav Delay,
Rod Modell,
Pantytec,
Camberwell Now,
Colin Newman,
Fluxion,
Joensuu 1685,
John Foxx,
Nik Kershaw,
Neil Young,
Sound Behaviour,
Warren Ellis,
Man Parrish,
Neu!,
Warsaw,
Vainqueur,
L. Decosne,
Max Romeo,
Deutsch Amerikanische Freundschaft,
Thompson Twins,
Delta 5,
Nas,
Malaria!,
The Mojo Men,
Organ,
Essential Logic,
DeepChord presents Echospace,
Captain Beefheart & His Magic Band,
The Detroit Cobras,
Goldenarms, Goldenarms, Goldenarms, Goldenarms.
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.