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 South Africa and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Manchester and Tehran.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the clarinet 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 Doors to the disco kids.
I played it at the Astoria.
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 Cabaret Voltaire. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Maleditus Sound 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Blake Baxter,
The Index,
Stockholm Monsters,
Sticky Fingaz feat. Raekwon,
a-ha,
Todd Terry,
Ultra Naté,
Carl Craig,
Dead Boys,
Michelle Simonal,
Idris Muhammad,
John Foxx,
Cal Tjader,
Q and Not U,
Soft Cell,
DJ Sneak,
Banda Bassotti,
The Alarm Clocks,
The Gories,
Zero Boys,
Nick Cave & The Bad Seeds,
Warren Ellis,
Mo-Dettes,
Cluster,
The Happenings,
Sonny Sharrock,
Skriet,
Junior Murvin,
Royal Trux,
Faust,
Minnie Riperton,
Fatback Band,
Flamin' Groovies,
Rhythm & Sound,
T.S.O.L.,
Andrew Hill,
Trumans Water,
Peter & Gordon,
X-Ray Spex,
Black Bananas,
Avey Tare,
Mars,
Albert Ayler,
10cc,
Qualms,
Barrington Levy,
Tears for Fears,
Larry & the Blue Notes,
The Fire Engines,
The Mojo Men,
Donny Hathaway,
The Shadows of Knight,
Tropical Tobacco,
Crash Course in Science,
Avey Tare's Slasher Flicks,
Tommy Roe,
Von Mondo,
Sixth Finger,
Sparks,
Public Enemy,
The Slits,
The Cowsills,
The Residents,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.