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 Haiti and from Salvador.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Woodstock and New York.
I'm losing my edge to the art-school Woodstock 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Nico to the dance kids.
I played it at CBGB's.
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 Jesper Dahlback. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Camberwell Now,
cv313,
Accadde A,
Gian Franco Pienzio,
Grauzone,
DJ Sneak,
Bobby Hutcherson,
The Slits,
Jacques Brel,
Skarface,
The Gladiators,
Albert Ayler,
Youth Brigade,
Rod Modell,
Warsaw,
Black Sheep,
kango's stein massive,
Gregory Isaacs,
Fort Wilson Riot,
Rekid,
Wolf Eyes,
The Motions,
Ultravox,
Sexual Harrassment,
The Blackbyrds,
Delon & Dalcan,
Skriet,
The J.B.'s,
Rufus Thomas,
Brick,
Ultra Naté,
Severed Heads,
Gil Scott-Heron and Jamie xx,
Howard Jones,
Gang Green,
Average White Band,
Flash Fearless,
The Velvet Underground,
Hasil Adkins,
Royal Trux,
Q and Not U,
Black Flag,
Symarip,
Quando Quango,
Ultramagnetic MC's,
Sun City Girls,
Unrelated Segments,
B.T. Express,
The Vogues,
Chris Corsano,
The Birthday Party,
Easy Going,
the Germs,
Pere Ubu,
Bill Wells,
LL Cool J,
Dawn Penn,
The Dave Clark Five,
Scientists,
Cluster,
Anakelly, Anakelly, Anakelly, Anakelly.
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.