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 Cape Verde and from Bremen.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Beijing.
I'm losing my edge to the art-school Halifax 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 guitar sounds with much patience.
I was there when David Bowie 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 Albert Ayler to the electroclash 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 Nation of Ulysses. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every The Buckinghams record on German import.
I heard that you have a white label of every seminal rock 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
James White and The Blacks,
Eurythmics,
Sound Behaviour,
Unrelated Segments,
Aural Exciters,
The Gories,
Japan,
Black Moon,
Pantytec,
Procol Harum,
Rites of Spring,
Gian Franco Pienzio,
Faraquet,
Marvin Gaye,
Lou Reed & John Cale,
Erasure,
Graham Central Station,
Pere Ubu,
The Saints,
Half Japanese,
Y Pants,
Slave,
Rosa Yemen,
Nas,
Notorious Big And Bone Thugs,
Magma,
Interpol,
Ultravox,
Ohio Players,
Kaleidoscope,
Visionaries,LMNO, T- Love & Iriscience,
Electric Prunes,
Babytalk,
Johnny Osbourne,
Moby Grape,
Jesper Dahlback,
Amon Düül II,
The Birthday Party,
Arab on Radar,
The Fire Engines,
Laurel Aitken,
Unwound,
Morten Harket,
Tom Boy,
Kayak,
Camouflage,
Camron Feat. Jay Z And Juelz,
Pantaleimon,
The Velvet Underground,
The Sound,
Echospace,
Scratch Acid,
Nik Kershaw,
The Zeros,
Arcadia,
Gary Puckett & The Union Gap,
Nation of Ulysses,
John Holt,
Vaughan Mason & Crew,
Terrestrial Tones,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.