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 El Salvador and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Portland and Toronto.
I'm losing my edge to the art-school Hong Kong 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare 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 Alison Limerick to the punk kids.
I played it at CBGB's.
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 Swell Maps. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Danielle Patucci record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Procol Harum,
Dr. Dre and Snoop Doggy Dog,
Eli Mardock,
Black Pus,
OOIOO,
Tropical Tobacco,
The Beau Brummels,
The Mojo Men,
Ralphi Rosario,
Quadrant,
Agitation Free,
It's A Beautiful Day,
Spandau Ballet,
A Certain Ratio,
Swans,
Steve Hackett,
The Dead C,
Crime,
Chris Corsano,
Flamin' Groovies,
Henry Cow,
Patti Smith,
Al Stewart,
Carl Craig,
EPMD,
The Misunderstood,
Chris & Cosey,
Rosa Yemen,
Sparks,
Tim Buckley,
Fat Boys,
Das Ding,
Stockholm Monsters,
Sly & The Family Stone,
Teenage Jesus and the Jerks,
Easy Going,
Goldenarms,
The Fire Engines,
Angry Samoans,
Minny Pops,
Lee Hazlewood,
Unwound,
Rahsaan Roland Kirk,
Eve St. Jones,
Bootsy's Rubber Band,
Fort Wilson Riot,
The Zeros,
8 Eyed Spy,
Jesper Dahlback,
the Soft Cell,
Gabor Szabo,
Kayak,
Minnie Riperton,
Dawn Penn,
Kas Product,
Gregory Isaacs,
L. Decosne,
Franke, Franke, Franke, Franke.
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.