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 Korea South and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Tehran and London.
I'm losing my edge to the art-school Mumbai 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Amon Düül to the techno kids.
I played it at the 40 Watt.
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 Television Personalities. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
The Electric Prunes,
Flamin' Groovies,
The Neon Judgement,
Ossler,
Bobby Hutcherson,
Bootsy's Rubber Band,
Rufus Thomas,
Fat Boys,
The Durutti Column,
Sarah Menescal,
Danielle Patucci,
Visionaries,LMNO, T- Love & Iriscience,
Unwound,
The Music Machine,
Brick,
Section 25,
Outsiders,
The Knickerbockers,
Ornette Coleman,
Neu!,
Marc Almond,
Chrome,
Prince Buster,
Nirvana,
the Slits,
The Flesh Eaters,
Frankie Knuckles,
Louis and Bebe Barron,
John Cale,
Mantronix,
Suicide,
The Gap Band,
Tommy Roe,
MC5,
Barbara Tucker,
The Sonics,
Kerri Chandler,
Kango’s Stein Massive,
LL Cool J,
kango's stein massive,
Thompson Twins,
Dead Boys,
T. Rex,
The Mummies,
Colin Newman,
Fifty Foot Hose,
Max Romeo,
cv313,
Bush Tetras,
OOIOO,
Soft Machine,
Black Moon,
Hot Snakes,
The New Christs,
Lebanon Hanover,
Captain Beefheart & His Magic Band,
Juan Atkins,
Graham Central Station,
Roxette, Roxette, Roxette, Roxette.
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.