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 Mali and from Manila.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Houston.
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 chamberlin 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 Marc Almond to the punk 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 Kings Of Tomorrow. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Mantronix record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Bill Near,
Gil Scott-Heron and Jamie xx,
Smog,
Rapeman,
In Retrospect,
Marine Girls,
Jeff Lynne,
Sunsets and Hearts,
The Durutti Column,
Beasts of Bourbon,
Ultimate Spinach,
Lower 48,
Avey Tare,
Sugar Minott,
Ponytail,
UT,
Alice Coltrane,
Animal Collective,
Anakelly,
Soft Machine,
The Litter,
Moebius,
Drexciya,
Rahsaan Roland Kirk,
Al Stewart,
Electric Light Orchestra,
Idris Muhammad,
Aswad,
Laurel Aitken,
The Residents,
The Smiths,
Tropical Tobacco,
Don Cherry,
Sexual Harrassment,
FM Einheit,
Ornette Coleman,
Echospace,
Fifty Foot Hose,
Nick Fraelich,
Radiohead,
Colin Newman,
Joe Finger,
Brick,
The Moody Blues,
Pharoah Sanders,
Warsaw,
The Grass Roots,
The Divine Comedy,
Hot Snakes,
The Dave Clark Five,
Peter and Kerry,
The Five Americans,
Strawberry Alarm Clock,
Rod Modell,
Altered Images,
Crispy Ambulance,
Tommy Roe,
Junior Murvin,
Franke,
Grandmaster Flash,
Lebanon Hanover,
The Remains, The Remains, The Remains, The Remains.
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.