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 Japan and from Winnipeg.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Houston.
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 808 sounds with much patience.
I was there when Lou Reed 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 John Foxx to the techno 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 Liaisons Dangereuses. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Gerry Rafferty 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 '70s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
A Flock of Seagulls,
Suburban Knight,
Aural Exciters,
Echospace,
The Gap Band,
James Chance & The Contortions,
Gregory Isaacs,
Andrew Hill,
Procol Harum,
Al Stewart,
Subhumans,
Cameo,
Toni Rubio,
Sonic Youth,
Malaria!,
Pylon,
Camouflage,
Babytalk,
Negative Approach,
Khruangbin,
Louis and Bebe Barron,
The Trojans,
Agitation Free,
Gil Scott Heron,
Fatback Band,
Isaac Hayes,
Major Organ And The Adding Machine,
Mad Mike,
Soft Machine,
The Names,
The Happenings,
Porter Ricks,
Basic Channel,
Slick Rick,
DJ Sneak,
Joey Negro,
Joe Finger,
Tom Boy,
Bauhaus,
Motorama,
Ultimate Spinach,
The Dave Clark Five,
Public Image Ltd.,
Sixth Finger,
The Blues Magoos,
Rowland S Howard / Lydia Lunch,
Kango’s Stein Massive,
Banda Bassotti,
Nirvana,
Bad Manners,
Von Mondo,
Sad Lovers and Giants,
X-Ray Spex,
Joe Smooth,
Warsaw,
Funky Four + One,
Rhythm & Sound,
Gichy Dan,
Lower 48,
Harpers Bizarre,
Oneida,
DNA,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.