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 Libya and from Milan.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Toronto 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 sitar 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 Faust to the techno 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 The Mighty Diamonds. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Robert Görl 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Trumans Water,
Notorious Big And Bone Thugs,
The Five Americans,
Pole,
Justin Hinds & The Dominoes,
Boz Scaggs,
The Motions,
Deepchord,
The Music Machine,
Pylon,
Cymande,
Qualms,
Gian Franco Pienzio,
Roger Hodgson,
The Dead C,
The Mummies,
Crispian St. Peters,
Nick Cave & The Bad Seeds,
The Angels of Light,
Agent Orange,
Mary Jane Girls,
Cameo,
The Skatalites,
Siouxsie and the Banshees,
Bizarre Inc.,
Chrome,
Isaac Hayes,
The Pop Group,
JFA,
Ituana,
Camberwell Now,
The Gories,
Soulsonic Force,
Pagans,
Bill Near,
The Smiths,
Richard Hell and the Voidoids,
Pussy Galore,
Popol Vuh,
Archie Shepp,
Sarah Menescal,
Jawbox,
Maleditus Sound,
Maurizio,
Suicide,
Agitation Free,
Excepter,
Nick Fraelich,
PIL,
Model 500,
Lyres,
Pet Shop Boys,
Jerry Gold Smith,
Sound Behaviour,
Max Romeo,
James White and The Blacks,
Con Funk Shun,
Ajijia Myrayebe,
Negative Approach,
Circle Jerks,
Marmalade,
It's A Beautiful Day,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.