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 Montenegro and from Tehran.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Woodstock 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 mellotron 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 U.S. Maple 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 Country Joe & The Fish. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Parry Music,
H. Thieme,
The Five Americans,
The Move,
Grey Daturas,
The Seeds,
Byron Stingily,
Boz Scaggs,
Chris Corsano,
Lyres,
The Red Krayola,
A Flock of Seagulls,
Funky Four + One,
Crooked Eye,
Metal Thangz,
Derrick May,
The Standells,
Major Organ And The Adding Machine,
Depeche Mode,
Chris & Cosey,
La Düsseldorf,
Rhythm & Sound,
Carl Craig,
Crime,
The Associates,
Tears for Fears,
The Mummies,
The Remains,
Ken Boothe,
Sparks,
Oppenheimer Analysis,
The Moleskins,
Brass Construction,
The Music Machine,
Albert Ayler,
Eric Dolphy,
The Detroit Cobras,
Cheater Slicks,
Pharaoh Sanders and the Fire Engines,
Lou Reed & John Cale,
Black Pus,
Scott Walker + Sunn O))),
Soul Sonic Force,
Monolake,
The Mojo Men,
New Age Steppers,
Amazonics,
Drive Like Jehu,
Das Ding,
Fatback Band,
Can,
James White and The Blacks,
Colin Newman,
Kayak,
Andrew Hill,
De La Soul & Jungle Brothers,
Youth Brigade,
Leonard Cohen,
The Offenders,
John Cale,
Ossler,
Larry & the Blue Notes,
Newcleus, Newcleus, Newcleus, Newcleus.
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.