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 Senegal and from Madrid.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Calgary and Milan.
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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Godley & Creme to the rap kids.
I played it at the Troubador.
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 Althea and Donna. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Ornette Coleman 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Ash Ra Tempel,
The Mummies,
KRS-One,
Robert Görl,
Amon Düül,
Unwound,
Bobbi Humphrey,
The American Breed,
The Five Americans,
Black Sheep,
Crispian St. Peters,
Soft Machine,
Siglo XX,
Gang Gang Dance,
Faraquet,
Newcleus,
The Names,
John Lydon,
Lafayette Afro Rock Band,
Rod Modell,
New Age Steppers,
Public Enemy,
The Gladiators,
Bauhaus,
Buzzcocks,
Curtis Mayfield,
Danielle Patucci,
Blancmange,
The Martian,
Anthony Braxton,
Visage,
Can,
Richard Hell and the Voidoids,
Average White Band,
Television Personalities,
Pole,
Alison Limerick,
Brass Construction,
Liliput,
Fear,
Lou Reed,
Big Daddy Kane,
Rhythim Is Rhythim,
Lower 48,
Derrick Morgan,
Jawbox,
Red Lorry Yellow Lorry,
The Associates,
The Wake,
Sonny Sharrock,
Dave Gahan,
Swans,
Nirvana,
The Last Poets,
The Men They Couldn't Hang,
Kango’s Stein Massive,
Boogie Down Productions,
Vainqueur,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.