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 Eritrea and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Edmonton and Mexico City.
I'm losing my edge to the art-school Winnipeg 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 808 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 Country Joe & The Fish to the dance 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 Gerry Rafferty. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every The Grass Roots 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
The Smiths,
The Moody Blues,
John Foxx,
Inner City,
Monks,
Brick,
Funkadelic,
K-Klass,
Moebius,
The Leaves,
Lyres,
Harmonia,
Delon & Dalcan,
Suburban Knight,
The Flesh Eaters,
Yusef Lateef,
UT,
Minutemen,
Cluster,
Can,
The United States of America,
Deakin,
Camouflage,
Strawberry Alarm Clock,
Eli Mardock,
Index,
Shuggie Otis,
Kevin Saunderson,
Bob Dylan,
Basic Channel,
Harry Pussy,
The Walker Brothers,
MC5,
Wolf Eyes,
Fad Gadget,
The Associates,
Dorothy Ashby,
Patti Smith,
Howard Jones,
Kango’s Stein Massive,
Bang on a Can All-Stars,
Schoolly D,
Joe Finger,
Infiniti,
The Music Machine,
Graham Central Station,
The New Christs,
Josef K,
Accadde A,
The Pop Group,
Sarah Menescal,
The Busters,
Ultramagnetic MC's,
Jacob Miller,
Newcleus,
Pylon,
Arab on Radar,
Notorious Big And Bone Thugs,
Gastr Del Sol,
Nik Kershaw,
Susan Cadogan,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.