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 Afghanistan and from Milan.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Columbus and Portland.
I'm losing my edge to the art-school Spokane 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Sarah Menescal to the funk kids.
I played it at the Roxy.
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 Hasil Adkins. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every Godley & Creme record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Visionaries,LMNO, T- Love & Iriscience,
Kerrie Biddell,
The Red Krayola,
Traffic Nightmare,
Sex Pistols,
Rhythim Is Rhythim,
Big Daddy Kane,
John Coltrane,
MC5,
Danielle Patucci,
The Seeds,
Inner City,
Technova,
Slave,
The Monochrome Set,
Nation of Ulysses,
Dawn Penn,
Dual Sessions,
AZ,
Silicon Teens,
Nico,
Minutemen,
JFA,
Swell Maps,
CMW,
Sonic Youth,
Hashim,
Kayak,
Janne Schatter,
Pulsallama,
Bauhaus,
Lou Reed & Metallica,
UT,
Rhythm & Sound,
Subhumans,
Marmalade,
FM Einheit,
Buzzcocks,
The Golliwogs,
Cheater Slicks,
Kevin Saunderson,
Minor Threat,
June of 44,
Guru Guru,
Lakeside,
Avey Tare,
Letta Mbulu,
Drive Like Jehu,
The Remains,
Unwound,
Rufus Thomas,
Niagra,
Sun City Girls,
Art Ensemble Of Chicago,
Urselle,
The Fugs,
Amon Düül,
Gabor Szabo,
New York Dolls,
Brothers Johnson,
Underground Resistance,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.