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 Korea South and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Winnipeg.
I'm losing my edge to the art-school Taipei 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 The Skatalites to the dance kids.
I played it at Trash.
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 Scratch Acid. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every Excepter record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
The Sisters of Mercy,
Wally Richardson,
June of 44,
Banda Bassotti,
The Selecter,
The Chocolate Watch Band,
Bauhaus,
Captain Beefheart & His Magic Band,
Nation of Ulysses,
Juan Atkins,
the Bar-Kays,
Boz Scaggs,
Al Stewart,
ABC,
H. Thieme,
Eli Mardock,
The Five Americans,
The Vogues,
Ultimate Spinach,
Electric Prunes,
Loose Ends,
Tropical Tobacco,
Bobby Hutcherson,
Visage,
DNA,
Suicide,
Qualms,
Albert Ayler,
Joey Negro,
James Chance & The Contortions,
Cal Tjader,
Sällskapet,
Ossler,
Ash Ra Tempel,
Johnny Osbourne,
Oblivians,
Inner City,
Janne Schatter,
Malaria!,
Laurel Aitken,
Circle Jerks,
The Monochrome Set,
Art Ensemble Of Chicago,
Todd Rundgren,
Vainqueur,
Rowland S Howard / Lydia Lunch,
Section 25,
Shuggie Otis,
Masters at Work,
Chris Corsano,
Barrington Levy,
Tres Demented,
Suburban Knight,
The Gories,
Swell Maps,
Althea and Donna,
Aural Exciters,
The Velvet Underground,
Hashim,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.