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 Cameroon and from Tokyo.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1973.
I'm losing my edge.
To all the kids in Calgary and Beijing.
I'm losing my edge to the art-school Taipei 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 mellotron 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 The Monochrome Set to the rap kids.
I played it at the Troubador.
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 Wasted Youth. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Hashim 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 '80s cut and another box set from the '80s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Hashim record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
MDC,
Pantytec,
Boredoms,
Lou Christie,
Das Ding,
Urselle,
Bobby Sherman,
Spoonie Gee,
Saccharine Trust,
Accadde A,
These Immortal Souls,
Girls At Our Best!,
Khruangbin,
Peter and Kerry,
Man Parrish,
Zero Boys,
Young Marble Giants,
The Monochrome Set,
Reuben Wilson,
Bluetip,
Lou Reed & Metallica,
LL Cool J,
De La Soul & Jungle Brothers,
F. McDonald,
Moebius,
Boz Scaggs,
Chrome,
Scott Walker,
the Association,
X-101,
Lungfish,
Siouxsie and the Banshees,
a-ha,
Sun Ra Arkestra,
The Flesh Eaters,
Sly & The Family Stone,
The Move,
Gregory Isaacs,
Mary Jane Girls,
New Age Steppers,
The Detroit Cobras,
Gian Franco Pienzio,
Lucky Dragons,
Nation of Ulysses,
A Flock of Seagulls,
The Happenings,
The Men They Couldn't Hang,
The Mighty Diamonds,
Guru Guru,
The Monks,
Alphaville,
Aural Exciters,
Average White Band,
JFA,
Black Sheep,
The Pop Group,
Sparks,
Shuggie Otis,
Banda Bassotti,
Clear Light, Clear Light, Clear Light, Clear Light.
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.