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 Taiwan and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1972.
I'm losing my edge.
To all the kids in Seoul and Portland.
I'm losing my edge to the art-school Woodstock 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 guitar 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 Cabaret Voltaire to the funk kids.
I played it at the 40 Watt.
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 This Heat. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every ABBA record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Joyce Sims,
Thinking Fellers Union Local 282,
Subhumans,
The Star Department,
London Community Gospel Choir,
Main Source,
Howard Jones,
Warsaw,
Todd Rundgren,
The Sonics,
Mars,
The Stooges,
EPMD,
The Standells,
Sly & The Family Stone,
Man Parrish,
Visage,
Sun City Girls,
Thee Headcoats,
Liliput,
Johnny Osbourne,
Kango’s Stein Massive,
Khruangbin,
Groovy Waters,
Trumans Water,
Scratch Acid,
Bang on a Can All-Stars,
Swell Maps,
The Chocolate Watch Band,
The Walker Brothers,
Eurythmics,
John Lydon,
The Mummies,
the Sonics,
Intrusion,
Brick,
Section 25,
Jawbox,
Eric B and Rakim,
Minny Pops,
The Names,
The J.B.'s,
Tommy Roe,
Franke,
Bill Near,
Dead Boys,
Thompson Twins,
The Neon Judgement,
Gang Starr,
DeepChord presents Echospace,
The Martian,
The Doors,
Audionom,
Tears for Fears,
Cecil Taylor,
Dawn Penn,
Deakin,
Neu!,
Pussy Galore,
The Divine Comedy,
Moebius,
Ultravox, Ultravox, Ultravox, Ultravox.
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.