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 Sudan and from Houston.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Delhi.
I'm losing my edge to the art-school Winnipeg 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron 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 Smiths to the disco kids.
I played it at the 40 Watt.
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 Yaz. All the underground hits.
All Flamin' Groovies tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Warsaw,
Buzzcocks,
The Gap Band,
Au Pairs,
The Cowsills,
The Dead C,
Kaleidoscope,
Thinking Fellers Union Local 282,
Theoretical Girls,
Orchestral Manoeuvres in the Dark,
Fela Kuti,
Lou Reed & Metallica,
Saccharine Trust,
Crispy Ambulance,
Ituana,
Mad Mike,
Lou Reed,
Kerrie Biddell,
Amazonics,
Jandek,
Reuben Wilson,
the Swans,
Scott Walker,
Freddie Wadling,
Teenage Jesus and the Jerks,
Flamin' Groovies,
Sound Behaviour,
Danielle Patucci,
Masters at Work,
Tim Buckley,
Liliput,
the Normal,
Rufus Thomas,
The Men They Couldn't Hang,
Josef K,
Crooked Eye,
The Smoke,
Rites of Spring,
Hashim,
Blossom Toes,
Sunsets and Hearts,
A Flock of Seagulls,
Art Ensemble Of Chicago,
Selector Dub Narcotic,
Man Parrish,
Zero Boys,
Joensuu 1685,
Althea and Donna,
The Move,
Sonny Sharrock,
Eric B and Rakim,
The Divine Comedy,
Spoonie Gee,
The Alarm Clocks,
Public Image Ltd.,
Alison Limerick,
Terry Callier,
Eddi Front,
Deadbeat,
Robert Görl,
Toni Rubio,
The Moody Blues,
Bluetip, Bluetip, Bluetip, Bluetip.
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.