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 Brazil and from Accra.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Milan and Philadelphia.
I'm losing my edge to the art-school Beijing 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 arpeggiator 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 Nik Kershaw to the rap kids.
I played it at the Roxy.
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 The American Breed. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Lower 48,
Drexciya,
Slave,
DNA,
Yaz,
Eve St. Jones,
Skaos,
Rhythim Is Rhythim,
The Cure,
Avey Tare,
The Chocolate Watch Band,
The Mummies,
The Music Machine,
The Modern Lovers,
Avey Tare's Slasher Flicks,
Marmalade,
R.M.O.,
Tubeway Army,
Nik Kershaw,
Fort Wilson Riot,
The Sound,
Kas Product,
Soulsonic Force,
Cluster,
Brand Nubian,
Model 500,
The West Coast Pop Art Experimental Band,
Maleditus Sound,
Echospace,
The Pop Group,
Super Lover Cee & Casanova Rud,
Connie Case,
Fatback Band,
Interpol,
Sun Ra,
F. McDonald,
Hot Snakes,
The Trojans,
Josef K,
Monks,
Jeru the Damaja,
Deutsch Amerikanische Freundschaft,
Monolake,
Boz Scaggs,
Neu!,
Kings Of Tomorrow,
Rites of Spring,
The Smiths,
The New Christs,
The Golliwogs,
Mark Hollis,
X-101,
Ultravox,
Vladislav Delay,
Rod Modell,
Y Pants,
Technova,
The Electric Prunes,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.