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 Palau and from Portland.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Accra and Delhi.
I'm losing my edge to the art-school Calgary 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 organ 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 Richard Hell and the Voidoids to the techno 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 Boredoms. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Colin Newman,
Country Joe & The Fish,
Ultimate Spinach,
The Invisible,
Brass Construction,
The Gun Club,
Mandrill,
Joensuu 1685,
The Fugs,
The Buckinghams,
Soft Machine,
The Kinks,
The Remains,
Traffic Nightmare,
Jawbox,
Kool G Rap & DJ Polo,
Popol Vuh,
Selector Dub Narcotic,
Saccharine Trust,
Pete Rock & C.L. Smooth,
Siouxsie and the Banshees,
The Pop Group,
Letta Mbulu,
Max Romeo,
The Chocolate Watch Band,
Matthew Halsall,
Lakeside,
Sam Rivers,
The Dirtbombs,
Boogie Down Productions,
Chrome,
Negative Approach,
The Index,
Joey Negro,
Index,
Kurtis Blow,
Johnny Osbourne,
London Community Gospel Choir,
Althea and Donna,
Kaleidoscope,
Michelle Simonal,
John Holt,
The Monochrome Set,
Hoover,
Sandy B,
Danielle Patucci,
Lindisfarne,
The Grass Roots,
The Misunderstood,
DNA,
Mantronix,
Crispian St. Peters,
Joe Finger,
Von Mondo,
Minny Pops,
Sun Ra,
Jeru the Damaja,
Lower 48, Lower 48, Lower 48, Lower 48.
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.