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 Bosnia Herzegovina and from Copenhagen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
I'm losing my edge to the art-school Stockholm 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 linndrum 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 The Pop Group to the rock kids.
I played it at the Astoria.
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 Q and Not U. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
The Saints,
Minutemen,
Terrestrial Tones,
Thompson Twins,
Buzzcocks,
Tubeway Army,
Harmonia,
Richard Hell and the Voidoids,
PIL,
Excepter,
The Busters,
Dark Day,
Heavy D & The Boyz,
Gil Scott-Heron and Jamie xx,
Jeff Lynne,
Black Bananas,
Rod Modell,
the Bar-Kays,
Black Pus,
Shuggie Otis,
Be Bop Deluxe,
Harpers Bizarre,
Lee Hazlewood,
Cluster,
Minny Pops,
Y Pants,
Delta 5,
Kauko Röyhkä ja Narttu,
Big Daddy Kane,
Erasure,
The American Breed,
Albert Ayler,
Letta Mbulu,
Alton Ellis,
Ash Ra Tempel,
Sonic Youth,
10cc,
Glenn Branca,
Dorothy Ashby,
Khruangbin,
Hasil Adkins,
Electric Prunes,
The Mighty Diamonds,
The Evens,
the Slits,
Skriet,
The Doors,
Soft Cell,
Motorama,
Johnny Clarke,
Moss Icon,
Marmalade,
Quando Quango,
Popol Vuh,
Peter Gordon & Love of Life Orchestra,
The Dirtbombs,
Amon Düül II,
Television Personalities,
Audionom,
Subhumans,
MDC,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.