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 Nicaragua and from London.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Calgary and New York.
I'm losing my edge to the art-school Mumbai 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 harpsichord 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 Scrapy to the punk kids.
I played it at the Roxy.
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 Tubeway Army. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Mantronix 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 '90s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Severed Heads,
Avey Tare & Kría Brekkan,
Mantronix,
F. McDonald,
Lungfish,
Saccharine Trust,
Sixth Finger,
MDC,
Selector Dub Narcotic,
Stockholm Monsters,
Procol Harum,
Subhumans,
Arcadia,
Blake Baxter,
The Smoke,
Siglo XX,
L. Decosne,
Boredoms,
Bobby Byrd,
The Modern Lovers,
Kaleidoscope,
Bobby Womack,
Avey Tare,
Grandmaster Flash and the Furious Five,
Ultravox,
Public Image Ltd.,
Malaria!,
The Dirtbombs,
Tres Demented,
Sound Behaviour,
Connie Case,
Urselle,
Slave,
Jesper Dahlbäck,
Duran Duran,
Masters at Work,
James White and The Blacks,
Ice-T,
Joyce Sims,
Chrome,
Monks,
Ultramagnetic MC's,
Shuggie Otis,
DeepChord presents Echospace,
Jeru the Damaja,
Crispy Ambulance,
Sandy B,
Basic Channel,
Spoonie Gee,
Sight & Sound,
Gang Starr,
Sam Rivers,
Ken Boothe,
the Human League,
Oblivians,
The Buckinghams,
Peter and Kerry,
Faraquet,
Soul II Soul,
Adolescents,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.