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 Congo and from Copenhagen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Woodstock.
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 Human League practice in a loft in Sheffield.
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 Neil Young & Crazy Horse to the punk kids.
I played it at the Troubador.
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 Glenn Branca. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. 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 Invisible,
Colin Newman,
This Heat,
The Jesus and Mary Chain,
Reagan Youth,
Japan,
The Cramps,
T.S.O.L.,
Heaven 17,
Glenn Branca,
Bootsy Collins,
Scientists,
Urselle,
Maleditus Sound,
Young Marble Giants,
The Buckinghams,
Gary Puckett & The Union Gap,
48th St. Collective,
Electric Light Orchestra,
Siouxsie and the Banshees,
Marvin Gaye,
Lee Hazlewood,
Bill Wells,
Livin' Joy,
Piero Umiliani,
Chris Corsano,
Roy Ayers Ubiquity,
Basic Channel,
T. Rex,
Yusef Lateef,
Sixth Finger,
Accadde A,
Deadbeat,
Gang Green,
The Pretty Things,
Morten Harket,
Wolf Eyes,
The Chocolate Watch Band,
Suburban Knight,
Justin Hinds & The Dominoes,
Altered Images,
Sarah Menescal,
Barry Ungar,
The Angels of Light,
Ornette Coleman,
The Count Five,
Art Ensemble Of Chicago,
Scratch Acid,
Lebanon Hanover,
Barclay James Harvest,
KRS-One,
Royal Trux,
Hot Snakes,
The Tremeloes,
Soul II Soul,
DJ Style,
The New Christs,
The Durutti Column,
David McCallum,
Theoretical Girls,
Marshall Jefferson,
Smog,
The Standells,
Mark Hollis,
Model 500, Model 500, Model 500, Model 500.
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.