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 Moldova and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Winnipeg and Lagos.
I'm losing my edge to the art-school Stockholm 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 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 Sound to the electroclash 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 The Slits. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Jandek record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Brothers Johnson,
Jesper Dahlback,
The West Coast Pop Art Experimental Band,
The Tremeloes,
Cecil Taylor,
Camouflage,
Justin Hinds & The Dominoes,
Qualms,
Bizarre Inc.,
Intrusion,
Boredoms,
Pharaoh Sanders and the Fire Engines,
Youth Brigade,
Junior Murvin,
Unwound,
Interpol,
Accadde A,
Sonny Sharrock,
Fifty Foot Hose,
Malaria!,
Absolute Body Control,
Tears for Fears,
the Association,
Cabaret Voltaire,
a-ha,
Mo-Dettes,
Terrestrial Tones,
Blossom Toes,
The Beau Brummels,
DNA,
Zapp,
Rapeman,
Echospace,
Alton Ellis,
Bang on a Can All-Stars,
Zero Boys,
Gang of Four,
Brick,
Siglo XX,
Supertramp,
The Monochrome Set,
Gil Scott-Heron & Brian Jackson,
Soulsonic Force,
Spoonie Gee,
Boz Scaggs,
The Cosmic Jokers,
Ultramagnetic MC's,
Smog,
Rowland S Howard / Lydia Lunch,
Man Eating Sloth,
The Skatalites,
The Walker Brothers,
June Days,
Oppenheimer Analysis,
Severed Heads,
Jerry's Kids,
Duran Duran,
The Fugs,
Crooked Eye,
X-101,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.