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 Azerbaijan and from Stockholm.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1972.
I'm losing my edge.
To all the kids in Accra and Houston.
I'm losing my edge to the art-school Hong Kong 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 snare sounds with much patience.
I was there when Lou Reed 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 Major Organ And The Adding Machine to the electroclash kids.
I played it at Cafe Wha.
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 Spandau Ballet. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Dennis Brown record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
The Shadows of Knight,
Janne Schatter,
John Lydon,
Ossler,
Siouxsie and the Banshees,
Rod Modell,
Wolf Eyes,
Pet Shop Boys,
The Buckinghams,
Deadbeat,
Wighnomy Brothers & Robag Wruhme,
Symarip,
Mo-Dettes,
The Victims,
EPMD,
Country Joe & The Fish,
E-Dancer,
Fear,
Peter & Gordon,
Oppenheimer Analysis,
The Selecter,
Jeff Lynne,
Minor Threat,
The Standells,
Kas Product,
Magazine,
Echo & the Bunnymen,
Major Organ And The Adding Machine,
Sonic Youth,
Eve St. Jones,
Frankie Knuckles,
LL Cool J,
Y Pants,
Swans,
Swell Maps,
Bootsy's Rubber Band,
Excepter,
KRS-One,
The Busters,
The Sonics,
The Fortunes,
Young Marble Giants,
Technova,
Lindisfarne,
Todd Terry,
The Moleskins,
Larry & the Blue Notes,
Gil Scott-Heron and Jamie xx,
Gil Scott Heron,
Black Sheep,
The Slackers,
Brand Nubian,
Fifty Foot Hose,
Bad Manners,
Leonard Cohen,
Jacques Brel,
Orchestral Manoeuvres in the Dark,
Brass Construction,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.