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 Belarus and from Delhi.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Hong Kong.
I'm losing my edge to the art-school Calgary 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Babytalk to the rock 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 Public Image Ltd.. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Derrick Morgan 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust 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?
Danielle Patucci,
Brick,
Gary Puckett & The Union Gap,
Blossom Toes,
Lebanon Hanover,
UT,
La Düsseldorf,
Connie Case,
X-102,
Lou Christie,
Cybotron,
Brand Nubian,
Bobby Womack,
Heaven 17,
The Move,
the Bar-Kays,
Boredoms,
Lower 48,
Jesper Dahlbäck,
Delon & Dalcan,
The Invisible,
Mission of Burma,
Lindisfarne,
It's A Beautiful Day,
Bang On A Can,
The Real Kids,
New Age Steppers,
China Crisis,
Circle Jerks,
Scott Walker + Sunn O))),
Deadbeat,
Ultravox,
Vainqueur,
Bobby Byrd,
The Fall,
Fluxion,
Fort Wilson Riot,
Arthur Verocai,
Underground Resistance,
X-Ray Spex,
kango's stein massive,
Robert Wyatt,
Davy DMX,
Sad Lovers and Giants,
Harpers Bizarre,
The Pretty Things,
The Doobie Brothers,
The Busters,
The Gap Band,
Siglo XX,
The Chocolate Watch Band,
Donny Hathaway,
Aloha Tigers,
KRS-One,
Howard Jones,
The Shadows of Knight,
Liliput,
Eli Mardock,
Leonard Cohen,
Fear,
Jawbox,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.