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 Trinidad & Tobago and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Toronto and Columbus.
I'm losing my edge to the art-school Shanghai 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 mellotron 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 Intrusion to the punk kids.
I played it at the Crocodile.
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 Laurel Aitken. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Prince Buster,
The Beau Brummels,
Moebius,
Gang of Four,
X-101,
Matthew Bourne,
Juan Atkins,
The Sound,
Ronan,
Kings Of Tomorrow,
Panda Bear,
Black Flag,
Orchestral Manoeuvres in the Dark,
Sun Ra Arkestra,
One Last Wish,
Patti Smith,
Bobby Sherman,
June of 44,
The Associates,
Nik Kershaw,
Teenage Jesus and the Jerks,
The Peanut Butter Conspiracy,
Bobby Byrd,
Metal Thangz,
Hoover,
Judy Mowatt,
Bootsy's Rubber Band,
The Doors,
Derrick Morgan,
Jesper Dahlbäck,
Erasure,
Fela Kuti,
Lou Reed & Metallica,
Loose Ends,
Electric Light Orchestra,
The Dead C,
Easy Going,
Heavy D & The Boyz,
H. Thieme,
Cheater Slicks,
Terrestrial Tones,
The Pretty Things,
Sparks,
The Slackers,
EPMD,
Cabaret Voltaire,
Monks,
Wally Richardson,
Max Romeo,
OOIOO,
Laurel Aitken,
Gang Green,
Ultimate Spinach,
a-ha,
Alphaville,
the Bar-Kays,
the Association,
Warren Ellis,
Aswad,
Vainqueur,
Stiv Bators,
The Saints,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.