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 Malta and from Lille.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 Manila and Portland.
I'm losing my edge to the art-school Calgary 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 güiro 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 Echo & the Bunnymen to the jazz kids.
I played it at the Hacienda.
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 Rod Modell. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Cluster 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Deakin record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
Amazonics,
Alton Ellis,
Monolake,
The Monks,
Soft Machine,
The Five Americans,
Whodini,
Beasts of Bourbon,
The Peanut Butter Conspiracy,
The Walker Brothers,
Underground Resistance,
Scion,
Ossler,
Mark Hollis,
Second Layer,
Red Lorry Yellow Lorry,
Sad Lovers and Giants,
Bronski Beat,
Eden Ahbez,
Marine Girls,
Buzzcocks,
Unwound,
Crispy Ambulance,
Captain Beefheart & His Magic Band,
Grey Daturas,
Angels of Light & Akron/Family,
Joe Smooth,
Tomorrow,
Boredoms,
The Litter,
Gang Gang Dance,
Trumans Water,
Fat Boys,
Little Man,
Wings,
The Cowsills,
10cc,
Richard Hell and the Voidoids,
Von Mondo,
the Soft Cell,
Negative Approach,
Country Teasers,
The Golliwogs,
Bluetip,
Man Eating Sloth,
The Sisters of Mercy,
the Slits,
Scratch Acid,
Brass Construction,
Selector Dub Narcotic,
Lou Reed & Metallica,
Black Flag,
Half Japanese,
Inner City,
The Toasters,
DNA,
Eyeless In Gaza,
the Fania All-Stars,
The Birthday Party,
Talk Talk,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.