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 Kyrgyzstan and from Columbus.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Taipei and Woodstock.
I'm losing my edge to the art-school Calgary 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 synthesizer 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 Drexciya to the disco kids.
I played it at the Hacienda.
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 The Durutti Column. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Sex Pistols 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sun City Girls record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
T. Rex,
Lizzy Mercier Descloux,
the Soft Cell,
Joensuu 1685,
Yaz,
X-102,
Kerri Chandler,
Porter Ricks,
Guru Guru,
Eric Copeland,
Vaughan Mason & Crew,
Gian Franco Pienzio,
Unwound,
Man Parrish,
Junior Murvin,
The Searchers,
London Community Gospel Choir,
The Seeds,
Excepter,
Donny Hathaway,
Todd Rundgren,
The Human League,
the Bar-Kays,
Crime,
Outsiders,
The Birthday Party,
The Associates,
Ken Boothe,
The Monks,
June of 44,
Erasure,
The Dirtbombs,
Neil Young & Crazy Horse,
Mars,
Rahsaan Roland Kirk,
The Dead C,
Joey Negro,
Babytalk,
Bang on a Can All-Stars,
Nico,
Echospace,
Liliput,
Althea and Donna,
The Mighty Diamonds,
Ronnie Foster,
The Slackers,
The Sonics,
Fort Wilson Riot,
Kool G Rap & DJ Polo,
The Electric Prunes,
Manfred Mann's Earth Band,
Ossler,
Pylon,
Symarip,
Suburban Knight,
The Remains,
Roy Ayers Ubiquity,
Eli Mardock,
Jesper Dahlback,
Brick,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.