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 Mexico City.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
I'm losing my edge to the art-school Bologna 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 arpeggiator 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 The Moleskins to the rap 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 Echospace. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Fifty Foot Hose record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terry Callier,
The Five Americans,
The Offenders,
Blake Baxter,
Liliput,
Maleditus Sound,
Cybotron,
The Residents,
Ice-T,
The Smiths,
Avey Tare's Slasher Flicks,
Half Japanese,
Gian Franco Pienzio,
Peter Gordon & Love of Life Orchestra,
Niagra,
Piero Umiliani,
KRS-One,
Monks,
Ken Boothe,
Pole,
Dave Gahan,
Wasted Youth,
Susan Cadogan,
Monolake,
Peter and Kerry,
Audionom,
Carl Craig,
Scrapy,
Lalann,
Roger Hodgson,
Lizzy Mercier Descloux,
Flamin' Groovies,
The Cramps,
Ronan,
Parry Music,
Nick Fraelich,
Stiv Bators,
Swans,
Harpers Bizarre,
X-Ray Spex,
Sunsets and Hearts,
Gil Scott-Heron & Brian Jackson,
Kool G Rap & DJ Polo,
Sparks,
Harry Pussy,
Brass Construction,
Flash Fearless,
Gary Puckett & The Union Gap,
Pantytec,
Cabaret Voltaire,
Art Ensemble Of Chicago,
DJ Sneak,
Sex Pistols,
Colin Newman,
Black Moon,
London Community Gospel Choir,
The Electric Prunes,
Kayak,
Malaria!,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.