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 United Kingdom and from Spokane.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Edmonton.
I'm losing my edge to the art-school Paris 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 güiro sounds with much patience.
I was there when Holger Czukay 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 John Holt to the rap kids.
I played it at Cafe Wha.
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 PIL. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Liaisons Dangereuses 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Supertramp,
Thinking Fellers Union Local 282,
Shuggie Otis,
Moebius,
Amon Düül,
R.M.O.,
10cc,
Delon & Dalcan,
Jesper Dahlback,
Second Layer,
JFA,
Warsaw,
B.T. Express,
Intrusion,
Royal Trux,
Section 25,
Spandau Ballet,
Darondo,
Ajijia Myrayebe,
Carl Craig,
Brass Construction,
Scion,
John Cale,
Mantronix,
Eurythmics,
Andrew Ashong & Theo Parrish,
Q and Not U,
the Human League,
Slick Rick,
Ossler,
Can,
Thee Headcoats,
Rhythim Is Rhythim,
The Buckinghams,
Pylon,
Fela Kuti,
Lafayette Afro Rock Band,
Gabor Szabo,
Inner City,
Young Marble Giants,
Hot Snakes,
Quadrant,
Kango’s Stein Massive,
Amazonics,
Minutemen,
The Wake,
The Invisible,
The Royal Family And The Poor,
Lightning Bolt,
Rakim,
The Residents,
F. McDonald,
Man Eating Sloth,
T. Rex,
Youth Brigade,
Jeff Mills,
Pere Ubu,
Circle Jerks,
Sunsets and Hearts,
Boredoms,
Crispy Ambulance,
Tom Boy,
The Mojo Men,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.