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 Cyprus and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Paris.
I'm losing my edge to the art-school Manila 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 oboe 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 Bauhaus to the disco kids.
I played it at the Troubador.
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 Warsaw. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gary Puckett & The Union Gap,
Liliput,
The Searchers,
Terrestrial Tones,
Peter Gordon & Love of Life Orchestra,
The Cramps,
Rites of Spring,
The Count Five,
Crash Course in Science,
Scott Walker,
Henry Cow,
Country Joe & The Fish,
T. Rex,
Angels of Light & Akron/Family,
Avey Tare & Kría Brekkan,
R.M.O.,
Sun City Girls,
Moby Grape,
The Names,
Icehouse,
Jerry Gold Smith,
Subhumans,
John Coltrane,
D'Angelo,
Sight & Sound,
Jacques Brel,
Peter & Gordon,
Sun Ra Arkestra,
Saccharine Trust,
Justin Hinds & The Dominoes,
Moebius,
The Divine Comedy,
The Neon Judgement,
Orchestral Manoeuvres in the Dark,
Flipper,
Andrew Hill,
Sonic Youth,
Rapeman,
Average White Band,
The Slits,
Wolf Eyes,
Agent Orange,
Royal Trux,
Albert Ayler,
Röyhkä ja Rättö ja Lehtisalo,
Byron Stingily,
London Community Gospel Choir,
Jimmy McGriff,
Oneida,
The Zeros,
The Seeds,
Lindisfarne,
The Evens,
The Grass Roots,
Mary Jane Girls,
The Kinks,
Thompson Twins,
Absolute Body Control,
Section 25,
Terry Callier,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.