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 Congo and from Lille.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and London.
I'm losing my edge to the art-school Copenhagen 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Tropical Tobacco to the techno kids.
I played it at the Roxy.
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 Darondo. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Public Enemy 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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?
Deepchord,
Sunsets and Hearts,
Sound Behaviour,
The Monks,
Magazine,
Ludus,
Janne Schatter,
The Zeros,
Anthony Braxton,
Grandmaster Flash,
Kurtis Blow,
The Jesus and Mary Chain,
The Music Machine,
Terrestrial Tones,
Justin Hinds & The Dominoes,
Japan,
Mo-Dettes,
Terror Squad Feat. Camron,
Lyres,
Minnie Riperton,
T.S.O.L.,
Ultimate Spinach,
Black Moon,
Electric Prunes,
Fluxion,
The Tremeloes,
Hoover,
Bobby Byrd,
Josef K,
Zapp,
Icehouse,
The Flesh Eaters,
Röyhkä ja Rättö ja Lehtisalo,
Nation of Ulysses,
Subhumans,
Cabaret Voltaire,
New York Dolls,
Traffic Nightmare,
Panda Bear,
Delta 5,
Tim Buckley,
Sandy B,
the Sonics,
Todd Terry,
Audionom,
Marmalade,
Amon Düül II,
The Blues Magoos,
Charles Mingus,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Howard Jones,
Deakin,
X-101,
The Last Poets,
The Moody Blues,
Jandek,
Talk Talk,
Model 500,
Black Flag,
Girls At Our Best!,
Robert Görl,
Q65,
Jeff Lynne,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.