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 Nauru and from Lyon.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Calgary and Bologna.
I'm losing my edge to the art-school Manila 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 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 The Associates to the jazz kids.
I played it at the 40 Watt.
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 The Offenders. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
The Motions,
Alton Ellis,
Pulsallama,
Loose Ends,
Dawn Penn,
Skriet,
Ash Ra Tempel,
The Doors,
Black Moon,
The Raincoats,
Stetsasonic,
Public Image Ltd.,
Zero Boys,
Todd Rundgren,
Matthew Bourne,
Cybotron,
Vladislav Delay,
Urselle,
Gary Puckett & The Union Gap,
Nirvana,
Red Lorry Yellow Lorry,
Larry & the Blue Notes,
Crispian St. Peters,
The Neon Judgement,
The Moleskins,
Mark Hollis,
The Techniques,
Motorama,
Sight & Sound,
Oneida,
Barrington Levy,
Fad Gadget,
Jesper Dahlbäck,
Tears for Fears,
Audionom,
Symarip,
Archie Shepp,
The Dirtbombs,
Davy DMX,
Crime,
Country Teasers,
Hashim,
Warsaw,
The Royal Family And The Poor,
Lucky Dragons,
Pussy Galore,
Janne Schatter,
Popol Vuh,
Gabor Szabo,
Kauko Röyhkä ja Narttu,
Althea and Donna,
the Sonics,
Slick Rick,
Jawbox,
Mr. Review,
Quadrant,
E-Dancer,
Marvin Gaye,
Lou Reed & John Cale,
Blancmange,
The Evens,
Slave, Slave, Slave, Slave.
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.