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 Algeria 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 1960 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Madrid.
I'm losing my edge to the art-school Bremen 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 guitar 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 Nick Cave & The Bad Seeds to the grunge 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 Janne Schatter. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every Ituana record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Depeche Mode,
New Age Steppers,
Hardrive,
Ronnie Foster,
Bobby Womack,
Easy Going,
Gil Scott-Heron and Jamie xx,
Roxy Music,
Saccharine Trust,
Bill Wells,
Pere Ubu,
The Stooges,
The Busters,
Sonic Youth,
A Certain Ratio,
Ossler,
Neil Young & Crazy Horse,
John Cale,
Make Up,
Tubeway Army,
B.T. Express,
Johnny Clarke,
Archie Shepp,
Radiohead,
Visionaries,LMNO, T- Love & Iriscience,
Fatback Band,
Quadrant,
Flamin' Groovies,
Darondo,
Joey Negro,
Parry Music,
Cecil Taylor,
Mad Mike,
Fela Kuti,
Pantaleimon,
Eric B and Rakim,
Wire,
Gil Scott Heron,
Hoover,
Sexual Harrassment,
Marcia Griffiths,
The Velvet Underground,
Japan,
Warsaw,
Excepter,
Eurythmics,
Strawberry Alarm Clock,
Loose Ends,
The Blackbyrds,
Gil Scott-Heron & Brian Jackson,
Robert Wyatt,
Kango’s Stein Massive,
Aswad,
The Doors,
The Cosmic Jokers,
Guru Guru,
The Fortunes,
Albert Ayler,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.