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 Lebanon and from Seoul.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Manila.
I'm losing my edge to the art-school Spokane 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 harpsichord 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 Cowsills to the grime kids.
I played it at the Hacienda.
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 Fatback Band. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every F. McDonald 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
The Remains,
Desert Stars,
Nils Olav,
The Searchers,
Fluxion,
L. Decosne,
Scott Walker + Sunn O))),
Heavy D & The Boyz,
Groovy Waters,
Grauzone,
Liliput,
The Tremeloes,
Connie Case,
Jeru the Damaja,
Sexual Harrassment,
Mr. Review,
Public Image Ltd.,
Juan Atkins,
EPMD,
Janne Schatter,
Main Source,
Eddi Front,
Ludus,
Kerrie Biddell,
Rapeman,
Excepter,
Sister Nancy,
Man Parrish,
Buzzcocks,
Eli Mardock,
Qualms,
Sonic Youth,
Matthew Halsall,
Von Mondo,
World's Most,
Leonard Cohen,
The Sound,
The Stooges,
The American Breed,
Jesper Dahlbäck,
The Golliwogs,
ABC,
Unrelated Segments,
Andrew Hill,
Isaac Hayes,
The Mummies,
Avey Tare,
Arthur Verocai,
Bizarre Inc.,
The Fall,
Fear,
The Doors,
Slave,
Terrestrial Tones,
Lafayette Afro Rock Band,
Warsaw, Warsaw, Warsaw, Warsaw.
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.