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 Bhutan and from Taipei.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1972.
I'm losing my edge.
To all the kids in Tehran and Mexico City.
I'm losing my edge to the art-school Columbus 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 oboe 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 Young Rascals 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 Deadbeat. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Barry Ungar,
Ornette Coleman,
The Detroit Cobras,
Ultravox,
The Move,
Mo-Dettes,
Bobby Byrd,
Sandy B,
June Days,
Boredoms,
John Lydon,
Easy Going,
Ituana,
Althea and Donna,
Monolake,
The Modern Lovers,
Sexual Harrassment,
Anakelly,
Trumans Water,
Gil Scott Heron,
The Remains,
Frankie Knuckles,
Siglo XX,
Deakin,
Wolf Eyes,
Nas,
Todd Rundgren,
Scrapy,
Sonic Youth,
Freddie Wadling,
Das Ding,
Tomorrow,
Crispian St. Peters,
DeepChord presents Echospace,
The Residents,
Kas Product,
The Fall,
Clear Light,
The Smoke,
The Human League,
Faraquet,
The Invisible,
Roger Hodgson,
D'Angelo,
The Standells,
Terry Callier,
The Grass Roots,
Ossler,
Warren Ellis,
Oneida,
Lee Hazlewood,
Radiohead,
Piero Umiliani,
Marc Almond,
Theoretical Girls,
Red Lorry Yellow Lorry,
Echo & the Bunnymen,
The Birthday Party,
Basic Channel,
The Sound,
Glenn Branca,
Johnny Osbourne,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.