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 Libya and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1972.
I'm losing my edge.
To all the kids in Bologna and Calgary.
I'm losing my edge to the art-school Columbus 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 güiro 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 Brass Construction to the electroclash 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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a New York Dolls record.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Siouxsie and the Banshees,
Jawbox,
Notorious Big And Bone Thugs,
Niagra,
Pantytec,
Fat Boys,
Camberwell Now,
Masters at Work,
The Star Department,
Accadde A,
Vaughan Mason & Crew,
Groovy Waters,
PIL,
A Flock of Seagulls,
Lou Reed,
Sight & Sound,
Qualms,
The West Coast Pop Art Experimental Band,
Schoolly D,
Faraquet,
James Chance & The Contortions,
Rahsaan Roland Kirk,
10cc,
Faust,
Marmalade,
Gregory Isaacs,
The Doors,
Lou Reed & Metallica,
L. Decosne,
Roxy Music,
ABBA,
The Saints,
Bootsy Collins,
Los Fastidios,
The Human League,
Kings Of Tomorrow,
Tears for Fears,
Moebius,
Mark Hollis,
Intrusion,
Piero Umiliani,
Eve St. Jones,
the Soft Cell,
Lebanon Hanover,
kango's stein massive,
Ornette Coleman,
Rapeman,
Louis and Bebe Barron,
Johnny Osbourne,
The Stooges,
Kauko Röyhkä ja Narttu,
The Monks,
The Velvet Underground,
Johnny Clarke,
Lou Reed & John Cale,
Clear Light,
Ronan,
The Kinks,
La Düsseldorf,
CMW,
The Raincoats,
Black Sheep,
Livin' Joy,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.