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 France and from Shanghai.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Milan and Bologna.
I'm losing my edge to the art-school Salvador 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Interpol to the punk kids.
I played it at the Astoria.
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 Shadows of Knight. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Boz Scaggs record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Scientists record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
The Monochrome Set,
New Order,
Tim Buckley,
48th St. Collective,
Bronski Beat,
Radio Birdman,
Manfred Mann's Earth Band,
Mission of Burma,
Traffic Nightmare,
Monolake,
Gary Puckett & The Union Gap,
The Alarm Clocks,
Lou Reed & Metallica,
Spoonie Gee,
Magazine,
Sam Rivers,
Graham Central Station,
The Smoke,
Gian Franco Pienzio,
The Gories,
James White and The Blacks,
Fort Wilson Riot,
Howard Jones,
Schoolly D,
Man Eating Sloth,
Depeche Mode,
Terrestrial Tones,
Yaz,
Darondo,
Tom Boy,
Sun City Girls,
Anakelly,
The Moody Blues,
DNA,
Andrew Ashong & Theo Parrish,
The Monks,
Rufus Thomas,
OOIOO,
Cameo,
Whodini,
Vaughan Mason & Crew,
Juan Atkins,
The Stooges,
Reagan Youth,
Delon & Dalcan,
Brick,
Teenage Jesus and the Jerks,
Kaleidoscope,
Excepter,
FM Einheit,
Big Daddy Kane,
Fugazi,
The Grass Roots,
The Cure,
Barbara Tucker,
Avey Tare & Kría Brekkan,
Severed Heads,
Terry Callier,
Dorothy Ashby,
The Buckinghams,
Lakeside,
Joe Smooth,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.