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 Nepal and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1971.
I'm losing my edge.
To all the kids in Manila and Johannesburg.
I'm losing my edge to the art-school Cairo 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Bizarre Inc. to the electroclash kids.
I played it at the Troubador.
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 Henry Cow. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every John Foxx record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your guitar and bought a 808.
I hear that you and your band have sold your 808 and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Alison Limerick,
Wolf Eyes,
The Young Rascals,
Unrelated Segments,
Black Moon,
Rhythm & Sound,
Young Marble Giants,
Can,
Black Pus,
The Cowsills,
The Slackers,
Judy Mowatt,
Soft Cell,
Boz Scaggs,
Slave,
X-101,
Donald Byrd,
Derrick May,
Lonnie Liston Smith,
Bang on a Can All-Stars,
Roy Ayers Ubiquity,
Sun City Girls,
Ossler,
David Axelrod,
The Smoke,
Grauzone,
The Offenders,
MC5,
Wire,
Liliput,
Boredoms,
Ohio Players,
Deepchord,
Visionaries,LMNO, T- Love & Iriscience,
Fat Boys,
Ultimate Spinach,
The Smiths,
DeepChord presents Echospace,
Electric Prunes,
Pylon,
Yusef Lateef,
The Associates,
Index,
Hoover,
Nirvana,
Dorothy Ashby,
Lebanon Hanover,
Beasts of Bourbon,
H. Thieme,
Barry Ungar,
the Swans,
Yazoo,
Avey Tare's Slasher Flicks,
Zero Boys,
Rekid,
Livin' Joy,
Popol Vuh,
Colin Newman,
Marcia Griffiths,
Pulsallama,
The Victims, The Victims, The Victims, The Victims.
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.