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 Kosovo and from London.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes 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 Popol Vuh to the jazz 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 Urselle. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every The Royal Family And The Poor record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Deutsch Amerikanische Freundschaft,
Newcleus,
Kings Of Tomorrow,
Shoche,
Ronan,
Ten City,
It's A Beautiful Day,
Roxette,
Gang Gang Dance,
Franke,
Crime,
Index,
Vaughan Mason & Crew,
Rotary Connection,
Sixth Finger,
Stetsasonic,
the Fania All-Stars,
Supertramp,
Black Pus,
Camberwell Now,
Kas Product,
Glenn Branca,
Saccharine Trust,
Quando Quango,
The Young Rascals,
Al Stewart,
Flash Fearless,
Brass Construction,
The Electric Prunes,
KRS-One,
New Age Steppers,
Dual Sessions,
Eric Copeland,
Vladislav Delay,
Gary Puckett & The Union Gap,
EPMD,
John Lydon,
Crooked Eye,
Minnie Riperton,
Jacob Miller,
David Axelrod,
Joey Negro,
Bill Wells,
The Velvet Underground,
Robert Görl,
Chris & Cosey,
Can,
Porter Ricks,
The Moleskins,
James White and The Blacks,
Freddie Wadling,
Mandrill,
The Cure,
Pete Rock & C.L. Smooth,
James Chance & The Contortions,
Y Pants,
Aural Exciters,
Grey Daturas,
The Remains,
Arcadia,
Tommy Roe,
Cybotron, Cybotron, Cybotron, Cybotron.
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.