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 Bangladesh and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1975.
I'm losing my edge.
To all the kids in London and London.
I'm losing my edge to the art-school Edmonton 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 spring reverb 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 Stiv Bators to the electroclash kids.
I played it at the Astoria.
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 Brick. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every David Bowie record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Arthur Verocai,
Shuggie Otis,
Josef K,
The Star Department,
A Certain Ratio,
Eli Mardock,
Super Lover Cee & Casanova Rud,
The Sonics,
Marc Romboy vs. Booka Shade,
Faraquet,
The Five Americans,
Young Marble Giants,
Bronski Beat,
Joy Division,
Rowland S Howard / Lydia Lunch,
New Age Steppers,
Stockholm Monsters,
Bob Dylan,
Funky Four + One,
Gichy Dan,
One Last Wish,
Q and Not U,
Minny Pops,
Masters at Work,
Inner City,
Reagan Youth,
Sonic Youth,
LL Cool J,
Harpers Bizarre,
Yaz,
Desert Stars,
Curtis Mayfield,
FM Einheit,
Delta 5,
Fort Wilson Riot,
Dave Gahan,
The Litter,
Bauhaus,
Todd Rundgren,
Lucky Dragons,
Art Ensemble Of Chicago,
Eden Ahbez,
Flipper,
Freddie Wadling,
Swans,
Wolf Eyes,
Adolescents,
The Raincoats,
The Evens,
Mr. Review,
London Community Gospel Choir,
Archie Shepp,
Judy Mowatt,
Liliput,
The Jesus and Mary Chain,
The Doobie Brothers,
Alison Limerick,
Public Enemy,
The Detroit Cobras,
The Royal Family And The Poor,
Röyhkä ja Rättö ja Lehtisalo,
Marvin Gaye,
Stetsasonic,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.