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 Belgium and from Halifax.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Stockholm 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb 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 Lalo Schifrin to the dance 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 Brick. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Arcadia,
Desert Stars,
The J.B.'s,
FM Einheit,
Louis and Bebe Barron,
Erasure,
Laurel Aitken,
Buzzcocks,
KRS-One,
Marshall Jefferson,
Tim Buckley,
Von Mondo,
Fad Gadget,
Sly & The Family Stone,
Dark Day,
Gastr Del Sol,
Lee Hazlewood,
The Moody Blues,
Scan 7,
Boz Scaggs,
The Gap Band,
Pharoah Sanders,
Pagans,
ABC,
Gang Green,
Barclay James Harvest,
Jacques Brel,
Strawberry Alarm Clock,
EPMD,
Unwound,
The Searchers,
LL Cool J,
Ten City,
The Sisters of Mercy,
Susan Cadogan,
Drive Like Jehu,
Liliput,
The New Christs,
Q65,
Blancmange,
Bob Dylan,
Barry Ungar,
Kerrie Biddell,
This Heat,
Liaisons Dangereuses,
Roy Ayers Ubiquity,
Andrew Hill,
Maleditus Sound,
Lyres,
A Flock of Seagulls,
Khruangbin,
a-ha,
Bill Near,
Yusef Lateef,
Can,
Harpers Bizarre,
Nick Cave & The Bad Seeds,
Jeff Mills,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.