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 Sweden and from Toronto.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Tehran and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 Michael McDonald 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 Television to the jazz kids.
I played it at the Hacienda.
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 DeepChord presents Echospace. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every New Order record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a John Lydon record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
The Techniques,
Theoretical Girls,
X-Ray Spex,
Lyres,
The Moleskins,
The Motions,
Steve Hackett,
Louis and Bebe Barron,
Gang Gang Dance,
the Germs,
Young Marble Giants,
Minutemen,
Public Enemy,
Boogie Down Productions,
New York Dolls,
Sight & Sound,
The Durutti Column,
Pete Rock & C.L. Smooth,
Tears for Fears,
The Evens,
Peter Gordon & Love of Life Orchestra,
Larry & the Blue Notes,
Oneida,
Masters at Work,
Matthew Halsall,
The Star Department,
The Pretty Things,
These Immortal Souls,
Isaac Hayes,
Freddie Wadling,
Inner City,
Siglo XX,
Girls At Our Best!,
Basic Channel,
Schoolly D,
Aloha Tigers,
Fugazi,
Carl Craig,
Kerri Chandler,
Derrick Morgan,
Parry Music,
Delta 5,
the Sonics,
The Jesus and Mary Chain,
The Fugs,
Rahsaan Roland Kirk,
Marmalade,
The Wake,
The Doobie Brothers,
Scratch Acid,
Wire,
Con Funk Shun,
Rowland S Howard / Lydia Lunch,
the Human League,
Terrestrial Tones,
The Neon Judgement,
Depeche Mode,
Crooked Eye,
Fear,
Chris & Cosey,
X-102,
Magma,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.