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 Macedonia and from Mexico City.
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 1971.
I'm losing my edge.
To all the kids in Bremen and Lille.
I'm losing my edge to the art-school London 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 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 The Pop Group to the rock kids.
I played it at the Crocodile.
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 X-Ray Spex. All the underground hits.
All Super Lover Cee & Casanova Rud tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your güiro and bought an oboe.
I hear that you and your band have sold your oboe and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Aaron Thompson,
Sight & Sound,
Graham Central Station,
Laurel Aitken,
The Wake,
ABC,
Gerry Rafferty,
Art Ensemble Of Chicago,
Bronski Beat,
Thinking Fellers Union Local 282,
Public Image Ltd.,
Tommy Roe,
The Leaves,
Niagra,
Lee Hazlewood,
Matthew Halsall,
Albert Ayler,
Skriet,
D'Angelo,
The Happenings,
Angry Samoans,
Prince Buster,
Stereo Dub,
Fifty Foot Hose,
The Royal Family And The Poor,
The Pretty Things,
Joy Division,
T.S.O.L.,
Vladislav Delay,
Drexciya,
Qualms,
Depeche Mode,
Fugazi,
Eve St. Jones,
Joe Finger,
Cybotron,
Soft Machine,
The American Breed,
Anthony Braxton,
The Gories,
The Young Rascals,
The Last Poets,
Electric Prunes,
Gichy Dan,
Man Eating Sloth,
New York Dolls,
Rhythim Is Rhythim,
Sarah Menescal,
James Chance & The Contortions,
Pylon,
Grauzone,
Heavy D & The Boyz,
Deepchord,
The Angels of Light,
Boogie Down Productions,
The Flesh Eaters,
Matthew Bourne,
Nik Kershaw,
Josef K,
Blancmange,
L. Decosne,
The Smoke,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.