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 Fiji and from Beijing.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1978.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
I'm losing my edge to the art-school Spokane 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 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 Porter Ricks to the dance kids.
I played it at the Roxy.
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 Barclay James Harvest. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every The Gories 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Pylon,
Cameo,
Eve St. Jones,
Los Fastidios,
Dark Day,
Drexciya,
Loose Ends,
Terrestrial Tones,
The Techniques,
Dual Sessions,
Wings,
John Coltrane,
The Evens,
Avey Tare & Kría Brekkan,
L. Decosne,
The Shadows of Knight,
The Dirtbombs,
Main Source,
Organ,
Half Japanese,
Bauhaus,
Outsiders,
Kurtis Blow,
Peter Gordon & Love of Life Orchestra,
Gil Scott Heron,
Newcleus,
DNA,
Wolf Eyes,
Harry Pussy,
The Raincoats,
Alton Ellis,
Ash Ra Tempel,
ABBA,
the Soft Cell,
The Gun Club,
Lightning Bolt,
The Motions,
AZ,
Deakin,
KRS-One,
Lalo Schifrin,
Beasts of Bourbon,
Chris & Cosey,
New Age Steppers,
Max Romeo,
Pantaleimon,
Oneida,
Bang on a Can All-Stars,
Saccharine Trust,
T.S.O.L.,
Jandek,
The Fall,
Fluxion,
Easy Going,
Notorious BIG live in Amsterdam,
Arab on Radar,
Bobbi Humphrey,
Silicon Teens,
Ultra Naté,
cv313,
Sad Lovers and Giants,
Underground Resistance,
Rufus Thomas,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.