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 Gambia and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Toronto and Glasgow.
I'm losing my edge to the art-school Mumbai 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 harpsichord 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 Unwound 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 Marine Girls. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every The Smiths record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Swans,
Slave,
It's A Beautiful Day,
The Standells,
Masters at Work,
The Sisters of Mercy,
Electric Light Orchestra,
Yazoo,
Liliput,
Smog,
Soft Cell,
DNA,
Bad Manners,
Easy Going,
KRS-One,
Animal Collective,
The Mojo Men,
Janne Schatter,
Deadbeat,
Peter Gordon & Love of Life Orchestra,
Chris & Cosey,
Sarah Menescal,
Intrusion,
Matthew Halsall,
The Sound,
These Immortal Souls,
Camouflage,
Bauhaus,
Youth Brigade,
Crispian St. Peters,
Joey Negro,
Pole,
Pylon,
Oblivians,
The Vogues,
The Offenders,
The Happenings,
Skarface,
Shuggie Otis,
The Techniques,
Wolf Eyes,
Rhythm & Sound,
Electric Prunes,
The Slackers,
Joe Smooth,
Lightning Bolt,
Hashim,
Darondo,
Soulsonic Force,
Gang Green,
Nico,
R.M.O.,
the Sonics,
Byron Stingily,
Flipper,
Harpers Bizarre,
The Zeros,
Stockholm Monsters,
The Pop Group,
Kaleidoscope,
The Fortunes,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.