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 Austria and from Accra.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school London 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the arpeggiator 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 Kerri Chandler to the electroclash 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 Gian Franco Pienzio. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Bizarre Inc.,
Von Mondo,
Underground Resistance,
Main Source,
Flipper,
June of 44,
The Five Americans,
Rotary Connection,
Sight & Sound,
ABBA,
Matthew Halsall,
Desert Stars,
Man Parrish,
Stereo Dub,
Drive Like Jehu,
The Cure,
The Human League,
Q and Not U,
The Busters,
Manfred Mann's Earth Band,
AZ,
Heaven 17,
the Bar-Kays,
Beasts of Bourbon,
Gil Scott Heron,
48th St. Collective,
Hashim,
Bob Dylan,
Skriet,
Scott Walker,
Bootsy's Rubber Band,
Masters at Work,
CMW,
Matthew Bourne,
The Durutti Column,
Spandau Ballet,
James White and The Blacks,
Grey Daturas,
Notorious BIG live in Amsterdam,
Sun Ra,
The Doobie Brothers,
Gastr Del Sol,
Drexciya,
Alphaville,
A Flock of Seagulls,
E-Dancer,
Isaac Hayes,
Major Organ And The Adding Machine,
The Toasters,
The Victims,
Henry Cow,
Eric B and Rakim,
JFA,
Brothers Johnson,
Qualms,
Soft Cell,
Deadbeat,
Andrew Hill,
R.M.O.,
Sun Ra Arkestra,
Nick Fraelich,
Dorothy Ashby,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.