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 Comoros and from Salvador.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1979.
I'm losing my edge.
To all the kids in Mexico City and Salvador.
I'm losing my edge to the art-school Bremen 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the guitar 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 Terry Callier to the disco kids.
I played it at the Spitz.
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 Dorothy Ashby. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Man Eating Sloth 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
The Fuzztones,
Dark Day,
Vaughan Mason & Crew,
Outsiders,
Graham Central Station,
Sad Lovers and Giants,
Traffic Nightmare,
Stockholm Monsters,
Girls At Our Best!,
Soft Machine,
Boredoms,
Easy Going,
The Martian,
Lalann,
The Flesh Eaters,
Jawbox,
A Flock of Seagulls,
Lightning Bolt,
Marshall Jefferson,
Arthur Verocai,
Kas Product,
Grauzone,
The Index,
The Moleskins,
Cabaret Voltaire,
Icehouse,
Electric Prunes,
the Fania All-Stars,
Donny Hathaway,
Gary Puckett & The Union Gap,
Qualms,
Funkadelic,
Rapeman,
Negative Approach,
La Düsseldorf,
Röyhkä ja Rättö ja Lehtisalo,
The Zeros,
Heavy D & The Boyz,
Lebanon Hanover,
T. Rex,
Jesper Dahlbäck,
Lee Hazlewood,
Sister Nancy,
Strawberry Alarm Clock,
Gregory Isaacs,
KRS-One,
Janne Schatter,
Thompson Twins,
Scan 7,
The Doobie Brothers,
Ronan,
K-Klass,
The Peanut Butter Conspiracy,
Bobby Sherman,
Man Parrish,
Gil Scott Heron,
Eurythmics,
The Gun Club,
PIL,
Archie Shepp,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.