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 Israel and from Manila.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school Johannesburg 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 oboe 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 Vogues to the electroclash 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 Agent Orange. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Gil Scott Heron 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Metal Thangz,
Rahsaan Roland Kirk,
Junior Murvin,
Los Fastidios,
Public Enemy,
The Skatalites,
The Walker Brothers,
The Sound,
Isaac Hayes,
Animal Collective,
Accadde A,
Amon Düül,
Stereo Dub,
The Young Rascals,
Bang On A Can,
Radio Birdman,
Crispy Ambulance,
The Gun Club,
Mad Mike,
The Names,
Dead Boys,
Johnny Clarke,
Danielle Patucci,
Jimmy McGriff,
Piero Umiliani,
Stetsasonic,
Joyce Sims,
The Dirtbombs,
kango's stein massive,
Amazonics,
Lee Hazlewood,
Bauhaus,
Notorious Big And Bone Thugs,
Sexual Harrassment,
Howard Jones,
Mission of Burma,
New York Dolls,
The Busters,
Blossom Toes,
Jacob Miller,
Khruangbin,
Eve St. Jones,
Scrapy,
Selector Dub Narcotic,
Arcadia,
The Dead C,
The Selecter,
Nirvana,
Bob Dylan,
Jerry's Kids,
Kauko Röyhkä ja Narttu,
Jesper Dahlback,
8 Eyed Spy,
Tears for Fears,
Shoche,
ABC,
Camouflage,
The Gladiators,
Nation of Ulysses,
Electric Prunes,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.