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 Botswana and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Spokane and Seoul.
I'm losing my edge to the art-school Copenhagen 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Gichy Dan to the crunk 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 Kas Product. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every La Düsseldorf 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
L. Decosne,
Scratch Acid,
Talk Talk,
Crooked Eye,
A Flock of Seagulls,
Country Teasers,
Jerry's Kids,
The Doobie Brothers,
Girls At Our Best!,
The Stooges,
The Blues Magoos,
The Dave Clark Five,
Urselle,
Stereo Dub,
Intrusion,
Mark Hollis,
Symarip,
K-Klass,
The J.B.'s,
Rakim,
Japan,
Minor Threat,
Ralphi Rosario,
Roger Hodgson,
Scientists,
Gang Green,
The Golliwogs,
Sam Rivers,
Hoover,
Leonard Cohen,
Jerry Gold Smith,
Kango’s Stein Massive,
The Vogues,
the Fania All-Stars,
the Slits,
Masters at Work,
Deakin,
The Velvet Underground,
Nico,
Mars,
Sugar Minott,
Pere Ubu,
Neil Young & Crazy Horse,
Maleditus Sound,
Unwound,
MDC,
Rosa Yemen,
Khruangbin,
Pharaoh Sanders and the Fire Engines,
Todd Rundgren,
Model 500,
Eric Copeland,
The Men They Couldn't Hang,
Animal Collective,
X-101,
Orchestral Manoeuvres in the Dark,
Heaven 17,
Jawbox,
Mad Mike,
Popol Vuh,
The Cramps,
Ken Boothe,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.