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 Pakistan and from Accra.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1973.
I'm losing my edge.
To all the kids in New York and Toronto.
I'm losing my edge to the art-school Tokyo 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Flash Fearless to the electroclash kids.
I played it at Cafe Wha.
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 Kas Product. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Skarface,
Rekid,
Joey Negro,
The Gories,
Gang Gang Dance,
Henry Cow,
Lafayette Afro Rock Band,
Black Flag,
The Pretty Things,
Slave,
Magazine,
Pierre Henry,
Rosa Yemen,
Yaz,
Popol Vuh,
Mo-Dettes,
Teenage Jesus and the Jerks,
Ken Boothe,
Tommy Roe,
The Red Krayola,
Kings Of Tomorrow,
The Divine Comedy,
The Buckinghams,
Crime,
Desert Stars,
Reuben Wilson,
Bill Near,
Byron Stingily,
8 Eyed Spy,
KRS-One,
Boogie Down Productions,
The Count Five,
The Dead C,
Nas,
the Germs,
Intrusion,
Camberwell Now,
Bluetip,
UT,
Crispian St. Peters,
David Axelrod,
Sex Pistols,
It's A Beautiful Day,
Harry Pussy,
The Index,
Jerry's Kids,
Johnny Osbourne,
Charles Mingus,
Warsaw,
The Zeros,
X-101,
Thompson Twins,
Jawbox,
Angels of Light & Akron/Family,
Eddi Front,
The Techniques,
Scott Walker,
Amon Düül,
Scrapy,
Lucky Dragons,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.