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 South Africa and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1970.
I'm losing my edge.
To all the kids in Manila and Toronto.
I'm losing my edge to the art-school Houston 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 harpsichord 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 Soul Sonic Force to the grime kids.
I played it at Cafe Wha.
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 Fort Wilson Riot. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Grandmaster Flash 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 '90s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Ronnie Foster,
Susan Cadogan,
Interpol,
Colin Newman,
Aural Exciters,
Popol Vuh,
Monolake,
Louis and Bebe Barron,
Röyhkä ja Rättö ja Lehtisalo,
Rosa Yemen,
Andrew Ashong & Theo Parrish,
Cameo,
Pere Ubu,
Siglo XX,
Country Joe & The Fish,
the Sonics,
Harmonia,
Avey Tare,
Flash Fearless,
The Last Poets,
Carl Craig,
Todd Terry,
The Fugs,
Ten City,
Pantytec,
Morten Harket,
Peter and Kerry,
Fear,
The United States of America,
Adolescents,
Marine Girls,
Brothers Johnson,
The Red Krayola,
Connie Case,
Buzzcocks,
Girls At Our Best!,
B.T. Express,
ABC,
The Shadows of Knight,
Khruangbin,
Audionom,
Public Image Ltd.,
Silicon Teens,
K-Klass,
Eli Mardock,
Eve St. Jones,
The Durutti Column,
Bauhaus,
Sonny Sharrock,
Ituana,
Angry Samoans,
Liliput,
John Foxx,
The Techniques,
DeepChord presents Echospace,
X-101,
Grandmaster Flash,
Country Teasers,
Donald Byrd,
The Leaves,
Quantec,
the Germs,
The Vogues, The Vogues, The Vogues, The Vogues.
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.