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 East Timor and from Spokane.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1972.
I'm losing my edge.
To all the kids in New York and Lille.
I'm losing my edge to the art-school Calgary 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 snare sounds with much patience.
I was there when Michael McDonald 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 Gary Puckett & The Union Gap to the jazz kids.
I played it at Trash.
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 Tres Demented. All the underground hits.
All N.O.R.E. Featuring Pharrell tracks. I heard you have a vinyl of every Newcleus 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Reuben Wilson record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
Rakim,
Whodini,
The Five Americans,
Flash Fearless,
Rhythm & Sound,
James Chance & The Contortions,
Isaac Hayes,
The West Coast Pop Art Experimental Band,
Minor Threat,
Lebanon Hanover,
Sarah Menescal,
The Mummies,
New Order,
Electric Light Orchestra,
the Soft Cell,
T.S.O.L.,
X-102,
Severed Heads,
R.M.O.,
Quadrant,
Bauhaus,
Gabor Szabo,
Rahsaan Roland Kirk,
Toni Rubio,
Dawn Penn,
The Modern Lovers,
Infiniti,
The Index,
Buzzcocks,
Talk Talk,
Moby Grape,
Main Source,
Nils Olav,
Ronan,
Nick Fraelich,
Groovy Waters,
David Bowie,
Funky Four + One,
Notorious Big And Bone Thugs,
Sugar Minott,
John Cale,
Stockholm Monsters,
Danielle Patucci,
Lakeside,
Eli Mardock,
F. McDonald,
John Coltrane,
The Flesh Eaters,
Neu!,
Max Romeo,
The Smoke,
Letta Mbulu,
A Flock of Seagulls,
Skarface,
Liliput,
Bad Manners,
Blancmange,
Charles Mingus,
Hasil Adkins,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.