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 Libya and from Winnipeg.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Lagos and Edmonton.
I'm losing my edge to the art-school New York 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the linndrum 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 Stetsasonic to the electroclash 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 Graham Central Station. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo 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 '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Clear Light,
Michelle Simonal,
The Divine Comedy,
Zero Boys,
Youth Brigade,
Black Moon,
Index,
L. Decosne,
Kaleidoscope,
Erasure,
Quadrant,
Ten City,
Henry Cow,
FM Einheit,
Unwound,
Connie Case,
Interpol,
Janne Schatter,
The Names,
Eve St. Jones,
Depeche Mode,
The Doobie Brothers,
Piero Umiliani,
Marine Girls,
Beasts of Bourbon,
Visage,
Donny Hathaway,
Moby Grape,
The Moleskins,
John Foxx,
Scion,
Qualms,
Soft Cell,
Strawberry Alarm Clock,
Bizarre Inc.,
Chris Corsano,
Cal Tjader,
Television Personalities,
Slave,
Sällskapet,
Faraquet,
Heaven 17,
Subhumans,
DJ Sneak,
Rakim,
Alice Coltrane,
Audionom,
Donald Byrd,
Louis and Bebe Barron,
Gregory Isaacs,
Bang on a Can All-Stars,
Echo & the Bunnymen,
Mark Hollis,
The Last Poets,
Matthew Halsall,
Popol Vuh,
De La Soul & Jungle Brothers,
The Peanut Butter Conspiracy,
The Motions,
Gastr Del Sol,
LL Cool J,
Q65, Q65, Q65, Q65.
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.