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 Canada and from Lille.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Halifax and Seoul.
I'm losing my edge to the art-school Philadelphia 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Jesper Dahlback to the punk 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 Jeff Mills. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Heaven 17 record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Captain Beefheart & His Magic Band,
Cabaret Voltaire,
Bootsy's Rubber Band,
Groovy Waters,
Soul II Soul,
E-Dancer,
Ten City,
The Electric Prunes,
Donald Byrd,
Mary Jane Girls,
Zero Boys,
Rosa Yemen,
The Shadows of Knight,
The Evens,
Röyhkä ja Rättö ja Lehtisalo,
Major Organ And The Adding Machine,
Pantytec,
Kango’s Stein Massive,
48th St. Collective,
Q and Not U,
Soft Cell,
T. Rex,
David Axelrod,
Lebanon Hanover,
Country Joe & The Fish,
Erykah Badu,
Public Image Ltd.,
Nation of Ulysses,
Roxette,
The Golliwogs,
Outsiders,
Animal Collective,
John Cale,
The Last Poets,
Average White Band,
MDC,
The Music Machine,
Aaron Thompson,
Dark Day,
Eden Ahbez,
Lindisfarne,
Ice-T,
Scientists,
Bill Near,
Sad Lovers and Giants,
Girls At Our Best!,
The Star Department,
Janne Schatter,
The Martian,
Avey Tare & Kría Brekkan,
Fifty Foot Hose,
Pylon,
Fugazi,
Ultravox,
Colin Newman,
Terror Squad Feat. Camron,
New York Dolls,
The Buckinghams,
The Mummies,
Pere Ubu,
Accadde A,
Young Marble Giants,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.