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 Bolivia and from London.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Jakarta.
I'm losing my edge to the art-school Tehran 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 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 Soft Machine to the techno 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 John Coltrane. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every The Knickerbockers record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reagan Youth,
Loose Ends,
Scan 7,
Art Ensemble Of Chicago,
Spandau Ballet,
Roy Ayers,
The Pretty Things,
Robert Wyatt,
Pantaleimon,
Strawberry Alarm Clock,
The Misunderstood,
Fifty Foot Hose,
Jesper Dahlbäck,
PIL,
The Vogues,
Piero Umiliani,
48th St. Collective,
DeepChord presents Echospace,
Richard Hell and the Voidoids,
Royal Trux,
Public Enemy,
Archie Shepp,
Parry Music,
Eli Mardock,
The Cosmic Jokers,
Roger Hodgson,
L. Decosne,
Pussy Galore,
Eric Copeland,
Bill Wells,
Hot Snakes,
Sister Nancy,
Bauhaus,
Donny Hathaway,
The Detroit Cobras,
the Soft Cell,
Altered Images,
Goldenarms,
Harmonia,
Rufus Thomas,
Soul II Soul,
The Electric Prunes,
The Offenders,
David McCallum,
The Fuzztones,
The Searchers,
Byron Stingily,
Kool Moe Dee,
Visionaries,LMNO, T- Love & Iriscience,
Fat Boys,
Section 25,
Pierre Henry,
The Chocolate Watch Band,
The Doobie Brothers,
Marcia Griffiths,
New Age Steppers,
LL Cool J,
Desert Stars,
Iggy Pop,
Howard Jones,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.