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 Georgia and from Halifax.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Cairo and London.
I'm losing my edge to the art-school Johannesburg 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 rhodes 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 Strawberry Alarm Clock to the electroclash kids.
I played it at the Hacienda.
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 Zeros. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every The Music Machine 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 '90s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
The Gladiators,
The Alarm Clocks,
Nas,
The Star Department,
Louis and Bebe Barron,
Symarip,
E-Dancer,
Chrome,
Bang on a Can All-Stars,
Blossom Toes,
Peter & Gordon,
Janne Schatter,
Kas Product,
Pulsallama,
Whodini,
Alice Coltrane,
Lebanon Hanover,
Ralphi Rosario,
China Crisis,
Junior Murvin,
Frankie Knuckles,
Vaughan Mason & Crew,
Graham Central Station,
Intrusion,
Unwound,
Peter and Kerry,
Marvin Gaye,
Excepter,
Be Bop Deluxe,
CMW,
Godley & Creme,
Orchestral Manoeuvres in the Dark,
Joe Smooth,
Beasts of Bourbon,
Lou Reed & John Cale,
Sunsets and Hearts,
Man Parrish,
Tomorrow,
Neil Young & Crazy Horse,
Aloha Tigers,
Easy Going,
Jeff Lynne,
James White and The Blacks,
Skarface,
Swans,
Crash Course in Science,
Sound Behaviour,
Todd Rundgren,
June of 44,
Scott Walker,
The Seeds,
In Retrospect,
OOIOO,
Ohio Players,
Soulsonic Force,
Delta 5,
K-Klass,
Jesper Dahlbäck,
Ice-T, Ice-T, Ice-T, Ice-T.
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.