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 Yemen and from Sao Paulo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1977.
I'm losing my edge.
To all the kids in Calgary and Houston.
I'm losing my edge to the art-school Manchester 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 mellotron 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 cv313 to the rap kids.
I played it at CBGB's.
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 Bill Wells. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Rod Modell 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 a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Crispian St. Peters,
Masters at Work,
Teenage Jesus and the Jerks,
Mandrill,
KRS-One,
Silicon Teens,
The Walker Brothers,
Panda Bear,
Liaisons Dangereuses,
Grey Daturas,
The Golliwogs,
Lafayette Afro Rock Band,
Bizarre Inc.,
Nick Cave & The Bad Seeds,
The Names,
Echospace,
Tomorrow,
Lizzy Mercier Descloux,
U.S. Maple,
Minor Threat,
The Mighty Diamonds,
Terry Callier,
Scion,
Notorious BIG live in Amsterdam,
cv313,
The Zeros,
MDC,
The Music Machine,
Hasil Adkins,
Pierre Henry,
Yusef Lateef,
Wasted Youth,
David McCallum,
Circle Jerks,
Yazoo,
Kenny Larkin,
The Beau Brummels,
Jacques Brel,
The Divine Comedy,
Eurythmics,
Camouflage,
Donny Hathaway,
Bauhaus,
Fat Boys,
Heaven 17,
Los Fastidios,
T.S.O.L.,
Neil Young & Crazy Horse,
Audionom,
Todd Rundgren,
The Dirtbombs,
Max Romeo,
Alphaville,
Robert Görl,
Jacob Miller,
Mad Mike,
Basic Channel,
The Happenings,
Gabor Szabo,
Tubeway Army,
Motorama, Motorama, Motorama, Motorama.
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.