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 Cape Verde and from Spokane.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Shanghai 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 theremin 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 Teenage Jesus and the Jerks to the techno kids.
I played it at the Spitz.
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 Eli Mardock. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Duran Duran 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Jawbox,
Louis and Bebe Barron,
Brick,
The Sonics,
Lalann,
The Leaves,
Scratch Acid,
Kayak,
Bootsy Collins,
Lyres,
Pharaoh Sanders and the Fire Engines,
Angry Samoans,
ABBA,
Radiopuhelimet,
Hoover,
Eurythmics,
Marc Romboy vs. Booka Shade,
Massinfluence,
Cal Tjader,
Pantytec,
Swans,
Bobby Womack,
Josef K,
Goldenarms,
Notorious Big And Bone Thugs,
Animal Collective,
Bang on a Can All-Stars,
Michelle Simonal,
Delon & Dalcan,
Tomorrow,
U.S. Maple,
48th St. Collective,
Trumans Water,
Guru Guru,
Ponytail,
Fela Kuti,
Stetsasonic,
Reuben Wilson,
Deakin,
Iggy Pop,
Rowland S Howard / Lydia Lunch,
Adolescents,
Sun City Girls,
Aloha Tigers,
Sly & The Family Stone,
Schoolly D,
Sound Behaviour,
Public Image Ltd.,
Gil Scott-Heron & Brian Jackson,
Stereo Dub,
Metal Thangz,
Nik Kershaw,
Barbara Tucker,
Black Pus,
Beasts of Bourbon,
Larry & the Blue Notes,
Lee Hazlewood,
Blossom Toes,
John Coltrane,
The Saints,
Hasil Adkins,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.