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 Norway and from Jakarta.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 Toronto and Calgary.
I'm losing my edge to the art-school Winnipeg 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 theremin 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 Minutemen to the electroclash kids.
I played it at the Spitz.
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 Quando Quango. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Mandrill,
Intrusion,
Funky Four + One,
Man Parrish,
Procol Harum,
Niagra,
Duran Duran,
Minor Threat,
Cybotron,
Pere Ubu,
Barrington Levy,
Hasil Adkins,
Bill Wells,
Joyce Sims,
The Happenings,
The Pretty Things,
Liliput,
Japan,
Harry Pussy,
The Gun Club,
Deakin,
Echospace,
Blake Baxter,
The Doors,
Mary Jane Girls,
Quantec,
Radiohead,
Idris Muhammad,
Ultravox,
Crispy Ambulance,
Brick,
Althea and Donna,
Danielle Patucci,
Desert Stars,
Amon Düül II,
Pete Rock & C.L. Smooth,
Negative Approach,
Easy Going,
Con Funk Shun,
Mars,
Shoche,
Drive Like Jehu,
The Birthday Party,
Todd Rundgren,
Pantaleimon,
Jesper Dahlback,
Grauzone,
cv313,
Leonard Cohen,
Kool G Rap & DJ Polo,
The Sisters of Mercy,
Crispian St. Peters,
Godley & Creme,
Black Moon,
Black Flag,
Lalann,
Buzzcocks,
Scion,
The West Coast Pop Art Experimental Band,
The Monochrome Set,
Newcleus,
Cabaret Voltaire,
Jerry's Kids,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.