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 Ukraine and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1976.
I'm losing my edge.
To all the kids in Bremen and Tehran.
I'm losing my edge to the art-school Mumbai 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 sitar 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 Laurel Aitken 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 Nico. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Gichy Dan record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bang on a Can All-Stars record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
The Motions,
Letta Mbulu,
New Order,
Pete Rock & C.L. Smooth,
Avey Tare,
The Detroit Cobras,
Ponytail,
Organ,
Gabor Szabo,
Kas Product,
Nirvana,
Bobby Byrd,
Shoche,
Subhumans,
It's A Beautiful Day,
Piero Umiliani,
Röyhkä ja Rättö ja Lehtisalo,
Tomorrow,
Tommy Roe,
Erasure,
the Soft Cell,
Pulsallama,
Quantec,
Marine Girls,
Porter Ricks,
David Axelrod,
Roger Hodgson,
Wally Richardson,
Jimmy McGriff,
Jandek,
Ralphi Rosario,
The Pretty Things,
Terry Callier,
The Black Dice,
Marc Romboy vs. Booka Shade,
June Days,
Drive Like Jehu,
Gary Puckett & The Union Gap,
The Monochrome Set,
Bluetip,
Q and Not U,
Eyeless In Gaza,
Masters at Work,
Ultimate Spinach,
The Grass Roots,
Lyres,
Eli Mardock,
E-Dancer,
X-Ray Spex,
Flash Fearless,
Lightning Bolt,
Peter and Kerry,
Parry Music,
Gian Franco Pienzio,
Siglo XX,
The Litter,
Sexual Harrassment,
Minor Threat,
Matthew Halsall,
Pantaleimon,
UT,
The Gun Club,
The Beau Brummels,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.