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 Malta and from Philadelphia.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school New York 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 clarinet 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 Glenn Branca to the electroclash kids.
I played it at the Astoria.
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 Camberwell Now. All the underground hits.
All Duran Duran tracks. I heard you have a vinyl of every The J.B.'s 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Oneida,
The Moleskins,
James White and The Blacks,
Neil Young & Crazy Horse,
Moss Icon,
Mo-Dettes,
Intrusion,
Ornette Coleman,
10cc,
The Motions,
Alice Coltrane,
Amazonics,
Strawberry Alarm Clock,
Pierre Henry,
The Smiths,
The West Coast Pop Art Experimental Band,
The Dead C,
Nick Cave & The Bad Seeds,
DNA,
Sugar Minott,
The Last Poets,
Ash Ra Tempel,
ABC,
The Alarm Clocks,
Nick Fraelich,
The Kinks,
LL Cool J,
The Durutti Column,
Faust,
Moebius,
Ultravox,
X-Ray Spex,
Kas Product,
Colin Newman,
Sonny Sharrock,
The Doobie Brothers,
Nation of Ulysses,
Kings Of Tomorrow,
The Martian,
New Order,
Connie Case,
The Five Americans,
The Residents,
Average White Band,
Glambeats Corp.,
Marmalade,
Angry Samoans,
Sun Ra Arkestra,
Cameo,
The Blackbyrds,
Jeff Mills,
Bob Dylan,
Blake Baxter,
Jandek,
Gang of Four,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sam Rivers,
Robert Görl,
The Index, The Index, The Index, The Index.
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.