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 Zambia and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Portland and Winnipeg.
I'm losing my edge to the art-school Seoul 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 güiro 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 Bauhaus to the disco kids.
I played it at Cafe Wha.
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 Larry & the Blue Notes. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Chocolate Watch Band,
Magazine,
Barry Ungar,
Aloha Tigers,
Scientists,
Public Image Ltd.,
Q65,
Cymande,
Bill Wells,
Black Sheep,
Aswad,
Peter and Kerry,
Section 25,
Kings Of Tomorrow,
ABC,
Sixth Finger,
The Alarm Clocks,
Half Japanese,
The Seeds,
Alison Limerick,
Slick Rick,
Livin' Joy,
Ralphi Rosario,
F. McDonald,
Intrusion,
Lee Hazlewood,
The Last Poets,
Janne Schatter,
Circle Jerks,
Gang Green,
48th St. Collective,
Sonic Youth,
Rhythim Is Rhythim,
Henry Cow,
Panda Bear,
Crime,
Moss Icon,
The American Breed,
H. Thieme,
Yusef Lateef,
Jandek,
The Sisters of Mercy,
Hasil Adkins,
Mary Jane Girls,
The Tremeloes,
Gong,
Gang of Four,
Subhumans,
Joyce Sims,
The Fuzztones,
the Sonics,
Jimmy McGriff,
Camouflage,
Warsaw,
Babytalk,
The Gap Band,
Minutemen,
Blancmange,
Kool Moe Dee,
Lalann,
Eden Ahbez,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.