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 Sierra Leone and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Halifax.
I'm losing my edge to the art-school Winnipeg 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 guitar sounds with much patience.
I was there when Captain Beefheart 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 Circle Jerks to the rock kids.
I played it at the Crocodile.
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 Piero Umiliani. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal dance 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 theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Infiniti,
Loose Ends,
Swell Maps,
Gang Gang Dance,
Nico,
Marcia Griffiths,
L. Decosne,
Cabaret Voltaire,
cv313,
The American Breed,
The Jesus and Mary Chain,
John Holt,
Au Pairs,
The Alarm Clocks,
Sad Lovers and Giants,
Super Lover Cee & Casanova Rud,
Harmonia,
Nick Cave & The Bad Seeds,
Soul II Soul,
ABBA,
Pete Rock & C.L. Smooth,
Robert Hood,
Radiopuhelimet,
Bill Near,
In Retrospect,
Yellowson,
Radiohead,
The Angels of Light,
Dorothy Ashby,
Trumans Water,
The Music Machine,
Echo & the Bunnymen,
Amon Düül,
Jimmy McGriff,
The Durutti Column,
Pere Ubu,
a-ha,
the Normal,
the Germs,
The Martian,
Gang Green,
Rekid,
Kango’s Stein Massive,
It's A Beautiful Day,
The Sound,
Oneida,
Gary Puckett & The Union Gap,
Sex Pistols,
DNA,
Man Eating Sloth,
Gichy Dan,
Wire,
The Monochrome Set,
Roger Hodgson,
Camouflage,
Kauko Röyhkä ja Narttu,
Matthew Halsall,
The West Coast Pop Art Experimental Band,
Ajijia Myrayebe,
Soul Sonic Force,
Barry Ungar,
The Young Rascals,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.