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 Samoa and from Tehran.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Woodstock.
I'm losing my edge to the art-school Jakarta 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Kings Of Tomorrow to the jazz kids.
I played it at Trash.
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 Lee Hazlewood. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
The American Breed,
The Evens,
The Slackers,
Jerry's Kids,
Fort Wilson Riot,
Avey Tare & Kría Brekkan,
The Smiths,
The Cure,
The Buckinghams,
Chris & Cosey,
Sad Lovers and Giants,
Malaria!,
Spandau Ballet,
Janne Schatter,
Rekid,
The Fuzztones,
Rotary Connection,
Mandrill,
Girls At Our Best!,
The Residents,
Henry Cow,
Franke,
Eric Dolphy,
Pere Ubu,
The Doobie Brothers,
Moss Icon,
Nation of Ulysses,
DNA,
The Searchers,
New York Dolls,
Susan Cadogan,
Siglo XX,
Youth Brigade,
Orchestral Manoeuvres in the Dark,
Notorious Big And Bone Thugs,
Joyce Sims,
Sam Rivers,
David Bowie,
Metal Thangz,
Michelle Simonal,
Hot Snakes,
The Monochrome Set,
the Sonics,
Sexual Harrassment,
Main Source,
DJ Sneak,
Minnie Riperton,
June of 44,
Aaron Thompson,
Harpers Bizarre,
Cymande,
Lower 48,
The Kinks,
Duran Duran,
Lou Reed & John Cale,
Thompson Twins,
Rowland S Howard / Lydia Lunch,
The Cramps,
Red Lorry Yellow Lorry,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.