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 Benin and from Lille.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Edmonton and Bremen.
I'm losing my edge to the art-school Tokyo 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 synthesizer 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 Boredoms to the rap kids.
I played it at the Astoria.
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 Sun City Girls. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every The Black Dice 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Derrick Morgan,
Electric Prunes,
Don Cherry,
Piero Umiliani,
Funky Four + One,
Max Romeo,
48th St. Collective,
Cal Tjader,
The Monks,
Judy Mowatt,
Alton Ellis,
Scion,
JFA,
La Düsseldorf,
AZ,
Blossom Toes,
Bizarre Inc.,
Oneida,
The Real Kids,
The Gap Band,
Popol Vuh,
Robert Görl,
Intrusion,
The Sonics,
Neu!,
Pylon,
Vaughan Mason & Crew,
The Happenings,
Stiv Bators,
Dead Boys,
Sun Ra Arkestra,
Fifty Foot Hose,
Little Man,
Lee Hazlewood,
Echospace,
Lower 48,
Tommy Roe,
Steve Hackett,
the Human League,
Lou Reed,
Bauhaus,
Graham Central Station,
Television,
Can,
Throbbing Gristle,
Tim Buckley,
Black Pus,
Red Lorry Yellow Lorry,
Fear,
Marine Girls,
Black Sheep,
Pharoah Sanders,
Eve St. Jones,
Adolescents,
Eurythmics,
Interpol,
Cheater Slicks,
Harpers Bizarre,
Aural Exciters,
The Star Department,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.