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 Uruguay and from Shanghai.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1972.
I'm losing my edge.
To all the kids in Accra and Houston.
I'm losing my edge to the art-school Stockholm 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 clarinet 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 One Last Wish to the jazz kids.
I played it at the Troubador.
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 Rahsaan Roland Kirk. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Amazonics,
LL Cool J,
Pantytec,
The Human League,
James Chance & The Contortions,
John Holt,
The Sound,
Severed Heads,
Delon & Dalcan,
Basic Channel,
Ultravox,
Sound Behaviour,
Electric Light Orchestra,
the Bar-Kays,
The Electric Prunes,
Absolute Body Control,
Bootsy's Rubber Band,
Can,
Joe Finger,
The Cowsills,
Sexual Harrassment,
Warsaw,
Porter Ricks,
Model 500,
Main Source,
Peter and Kerry,
The Barracudas,
The Modern Lovers,
Heaven 17,
June of 44,
Panda Bear,
Michelle Simonal,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Q and Not U,
Sandy B,
ABBA,
Boogie Down Productions,
Drive Like Jehu,
Skriet,
Yazoo,
DNA,
Lizzy Mercier Descloux,
Marine Girls,
Liliput,
the Swans,
Sex Pistols,
Newcleus,
London Community Gospel Choir,
Maleditus Sound,
The Busters,
Ten City,
FM Einheit,
Heavy D & The Boyz,
The Sonics,
Bad Manners,
Bang On A Can,
The Sisters of Mercy,
Con Funk Shun,
Rowland S Howard / Lydia Lunch,
Von Mondo,
Brass Construction,
The Vogues, The Vogues, The Vogues, The Vogues.
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.