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 Micronesia and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1973.
I'm losing my edge.
To all the kids in Shanghai and Houston.
I'm losing my edge to the art-school Hong Kong 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Teenage Jesus and the Jerks to the jazz 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 Roy Ayers. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Flamin' Groovies,
the Sonics,
In Retrospect,
Junior Murvin,
Radiohead,
Pole,
Outsiders,
Bill Wells,
Pere Ubu,
James White and The Blacks,
Icehouse,
Traffic Nightmare,
The Sisters of Mercy,
Nirvana,
Sparks,
Be Bop Deluxe,
Brass Construction,
Can,
Roxy Music,
Steve Hackett,
Gil Scott-Heron and Jamie xx,
Funky Four + One,
Infiniti,
Toni Rubio,
Mars,
The J.B.'s,
The Chocolate Watch Band,
The Men They Couldn't Hang,
Adolescents,
Sugar Minott,
Skaos,
Orchestral Manoeuvres in the Dark,
Pharaoh Sanders and the Fire Engines,
Iggy Pop,
Mo-Dettes,
Erasure,
Glenn Branca,
The Fire Engines,
Malaria!,
Scan 7,
Ice-T,
Bang On A Can,
The Kinks,
The Pop Group,
Sunsets and Hearts,
Eli Mardock,
the Germs,
Harmonia,
The Blackbyrds,
Audionom,
Marc Romboy vs. Booka Shade,
Unwound,
Crooked Eye,
Kings Of Tomorrow,
Yazoo,
Oneida,
Pantaleimon,
Kool Moe Dee,
The Gories,
Little Man, Little Man, Little Man, Little Man.
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.