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 Ghana and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1971.
I'm losing my edge.
To all the kids in New York and Portland.
I'm losing my edge to the art-school Madrid 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 The Buckinghams to the punk 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 Yusef Lateef. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Bang On A Can record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Joe Finger,
Young Marble Giants,
Al Stewart,
Red Lorry Yellow Lorry,
Ash Ra Tempel,
Yellowson,
Joey Negro,
Radiopuhelimet,
Bootsy's Rubber Band,
MDC,
Amon Düül,
Danielle Patucci,
EPMD,
The Index,
Stiv Bators,
Minor Threat,
The Move,
Bill Wells,
Fat Boys,
Moss Icon,
The Gap Band,
Jesper Dahlback,
Fatback Band,
Roxy Music,
48th St. Collective,
Warsaw,
Rhythm & Sound,
Super Lover Cee & Casanova Rud,
The Star Department,
Marine Girls,
David McCallum,
Frankie Knuckles,
The Leaves,
Vainqueur,
Sandy B,
Mission of Burma,
Roy Ayers Ubiquity,
Brick,
The Names,
Oppenheimer Analysis,
Electric Light Orchestra,
Pet Shop Boys,
This Heat,
The Mummies,
Byron Stingily,
Lebanon Hanover,
Echospace,
Toni Rubio,
Deadbeat,
Rowland S Howard / Lydia Lunch,
Dorothy Ashby,
Rosa Yemen,
The Raincoats,
Lou Reed & John Cale,
Drive Like Jehu,
Heavy D & The Boyz,
Orchestral Manoeuvres in the Dark,
Cal Tjader,
The Cure,
Grey Daturas,
Intrusion,
H. Thieme,
The Doors, The Doors, The Doors, The Doors.
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.