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 Norway and from Manchester.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Houston and Spokane.
I'm losing my edge to the art-school Copenhagen 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Offenders to the grunge kids.
I played it at the Crocodile.
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 Lalo Schifrin. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Sex Pistols 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
China Crisis,
The Motions,
Bill Wells,
Second Layer,
Gary Puckett & The Union Gap,
Spandau Ballet,
Minor Threat,
Sight & Sound,
Sex Pistols,
The Vogues,
Public Image Ltd.,
The Associates,
The Doors,
Arab on Radar,
Michelle Simonal,
Television Personalities,
Kool G Rap & DJ Polo,
OOIOO,
Matthew Halsall,
LL Cool J,
Sixth Finger,
Cybotron,
The Fugs,
World's Most,
Black Bananas,
The Chocolate Watch Band,
Marc Romboy vs. Booka Shade,
Black Pus,
K-Klass,
Al Stewart,
Suburban Knight,
Tom Boy,
Q and Not U,
Rod Modell,
Rites of Spring,
Essential Logic,
Iggy Pop,
Danielle Patucci,
Bang On A Can,
Ken Boothe,
Delta 5,
Motorama,
The Flesh Eaters,
Connie Case,
Alice Coltrane,
The Angels of Light,
Pierre Henry,
The Young Rascals,
X-Ray Spex,
Accadde A,
Gil Scott-Heron & Brian Jackson,
The Royal Family And The Poor,
the Swans,
Neil Young & Crazy Horse,
Roxy Music,
Youth Brigade,
Lonnie Liston Smith,
The Last Poets,
Ultimate Spinach,
Suicide, Suicide, Suicide, Suicide.
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.