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 Togo and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Milan.
I'm losing my edge to the art-school Lyon 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Sisters of Mercy to the electroclash 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 X-102. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal punk 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 sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
8 Eyed Spy,
Orchestral Manoeuvres in the Dark,
Freddie Wadling,
Don Cherry,
Fluxion,
Rufus Thomas,
Section 25,
Marc Almond,
T.S.O.L.,
Laurel Aitken,
Hardrive,
Archie Shepp,
Oppenheimer Analysis,
Cybotron,
The Pop Group,
Dual Sessions,
Little Man,
Donny Hathaway,
Monks,
Minny Pops,
Avey Tare,
Sound Behaviour,
the Soft Cell,
Gang Gang Dance,
Anakelly,
Nick Fraelich,
The Detroit Cobras,
ABBA,
James White and The Blacks,
Subhumans,
Thee Headcoats,
Ronan,
LL Cool J,
Barbara Tucker,
Wire,
Steve Hackett,
Agitation Free,
Lakeside,
Deutsch Amerikanische Freundschaft,
The Happenings,
Johnny Osbourne,
Jimmy McGriff,
Sonny Sharrock,
Lindisfarne,
Gabor Szabo,
Ralphi Rosario,
Jacques Brel,
Ronnie Foster,
Aloha Tigers,
Glenn Branca,
Intrusion,
Brothers Johnson,
Camouflage,
Albert Ayler,
Lou Christie,
the Slits,
EPMD,
Peter & Gordon,
The Flesh Eaters,
The Motions, The Motions, The Motions, The Motions.
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.