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 Dominica and from Paris.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Houston and Manchester.
I'm losing my edge to the art-school Jakarta 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 linndrum 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 The Star Department to the grime 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 Masters at Work. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
The Jesus and Mary Chain,
Junior Murvin,
The United States of America,
DJ Sneak,
Livin' Joy,
Susan Cadogan,
Scott Walker,
Black Bananas,
Gichy Dan,
Howard Jones,
Soft Machine,
The Real Kids,
The Detroit Cobras,
Infiniti,
Siglo XX,
Nick Cave & The Bad Seeds,
Neil Young & Crazy Horse,
Notorious Big And Bone Thugs,
Fad Gadget,
Kevin Saunderson,
Justin Hinds & The Dominoes,
Tim Buckley,
The Standells,
The Black Dice,
Alton Ellis,
Ornette Coleman,
Lalo Schifrin,
Johnny Osbourne,
Youth Brigade,
The West Coast Pop Art Experimental Band,
Marshall Jefferson,
The Tremeloes,
A Flock of Seagulls,
Los Fastidios,
Don Cherry,
Mr. Review,
Idris Muhammad,
CMW,
Kas Product,
Gang Green,
The Fall,
Albert Ayler,
Marc Romboy vs. Booka Shade,
Jandek,
Metal Thangz,
The Fuzztones,
Y Pants,
Bush Tetras,
ABBA,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Names,
Joey Negro,
Circle Jerks,
The Slackers,
Technova,
Fear,
Barbara Tucker,
Camouflage,
Liaisons Dangereuses,
Qualms,
Model 500, Model 500, Model 500, Model 500.
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.