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 Canada and from Spokane.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Cairo and Delhi.
I'm losing my edge to the art-school Copenhagen 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 clarinet 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 The Standells to the dance kids.
I played it at the Spitz.
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 Echo & the Bunnymen. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
The Music Machine,
Jerry Gold Smith,
Lungfish,
Patti Smith,
The Busters,
Radiohead,
The Fuzztones,
The Smoke,
Subhumans,
Peter & Gordon,
Röyhkä ja Rättö ja Lehtisalo,
Soft Cell,
A Certain Ratio,
Danielle Patucci,
Jawbox,
Basic Channel,
Roxette,
Cecil Taylor,
Flamin' Groovies,
EPMD,
Terrestrial Tones,
K-Klass,
Ohio Players,
Electric Light Orchestra,
Boz Scaggs,
The Kinks,
Talk Talk,
Ultravox,
X-101,
Slick Rick,
Kas Product,
Sun Ra,
Babytalk,
La Düsseldorf,
Alison Limerick,
Beasts of Bourbon,
X-102,
the Bar-Kays,
Intrusion,
Todd Rundgren,
Warren Ellis,
Soul Sonic Force,
Jesper Dahlback,
Amon Düül II,
Fear,
Nation of Ulysses,
Grauzone,
The J.B.'s,
Saccharine Trust,
Prince Buster,
The Sisters of Mercy,
Bobby Womack,
Cabaret Voltaire,
Dark Day,
Neil Young,
Neu!,
Peter and Kerry,
DJ Sneak,
KRS-One,
Urselle,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.