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 Canada and from Woodstock.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Portland and Edmonton.
I'm losing my edge to the art-school Mexico City 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Lungfish to the rock kids.
I played it at the Crocodile.
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 Velvet Underground. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every The Pop Group record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a rhodes 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 harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Happenings,
Thompson Twins,
Fifty Foot Hose,
The Martian,
Eve St. Jones,
Rosa Yemen,
Crime,
Crash Course in Science,
The Five Americans,
10cc,
Larry & the Blue Notes,
The Associates,
Joe Smooth,
Jawbox,
John Holt,
Lee Hazlewood,
Wasted Youth,
Idris Muhammad,
Peter Gordon & Love of Life Orchestra,
Fluxion,
Curtis Mayfield,
Outsiders,
Animal Collective,
Bobby Byrd,
Judy Mowatt,
Kerrie Biddell,
Godley & Creme,
Depeche Mode,
Sugar Minott,
Adolescents,
James White and The Blacks,
Pulsallama,
Sällskapet,
Hoover,
Alice Coltrane,
Pharoah Sanders,
Warren Ellis,
Isaac Hayes,
Aaron Thompson,
Babytalk,
Derrick May,
Donny Hathaway,
The Index,
Terry Callier,
Swans,
The Fuzztones,
the Human League,
Davy DMX,
Vaughan Mason & Crew,
X-Ray Spex,
Amon Düül,
48th St. Collective,
Lindisfarne,
Lonnie Liston Smith,
The Black Dice,
Y Pants,
Glenn Branca,
Wings,
the Swans,
Pete Rock & C.L. Smooth,
The Fall,
Pere Ubu,
The Motions, The Motions, The Motions, The Motions.
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.