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 United Kingdom and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Taipei.
I'm losing my edge to the art-school Paris 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the guitar 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 Zero Boys to the electroclash 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 PIL. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Kerrie Biddell,
DJ Sneak,
Theoretical Girls,
Sister Nancy,
Gil Scott Heron,
Marcia Griffiths,
The Royal Family And The Poor,
Amon Düül,
Y Pants,
Juan Atkins,
Minnie Riperton,
The Vogues,
Susan Cadogan,
Barclay James Harvest,
John Cale,
The Slackers,
Tom Boy,
Amazonics,
Unwound,
Sarah Menescal,
Ronan,
Adolescents,
Gary Puckett & The Union Gap,
Arthur Verocai,
The Star Department,
Public Image Ltd.,
Rhythim Is Rhythim,
La Düsseldorf,
Marvin Gaye,
Teenage Jesus and the Jerks,
Flash Fearless,
The Shadows of Knight,
Buzzcocks,
Lizzy Mercier Descloux,
The Black Dice,
Oneida,
Dorothy Ashby,
Avey Tare & Kría Brekkan,
Man Parrish,
Agent Orange,
the Bar-Kays,
Jandek,
Kango’s Stein Massive,
the Normal,
Lower 48,
Ultra Naté,
Dawn Penn,
Supertramp,
John Lydon,
Roy Ayers,
Camberwell Now,
New Age Steppers,
ABC,
Crash Course in Science,
T.S.O.L.,
Fela Kuti,
Pierre Henry,
Can, Can, Can, Can.
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.