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 Oman and from Philadelphia.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Lagos and Manila.
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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Warsaw to the jazz 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 Quadrant. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
the Swans,
Arthur Verocai,
Oneida,
Howard Jones,
Rowland S Howard / Lydia Lunch,
Unrelated Segments,
Avey Tare's Slasher Flicks,
Gabor Szabo,
Ornette Coleman,
The Mojo Men,
Harmonia,
Absolute Body Control,
Bang on a Can All-Stars,
Soulsonic Force,
The Star Department,
Drive Like Jehu,
Section 25,
The Busters,
Robert Görl,
Gang Green,
Lalo Schifrin,
Fear,
The Peanut Butter Conspiracy,
Be Bop Deluxe,
Rhythm & Sound,
Brand Nubian,
Oppenheimer Analysis,
La Düsseldorf,
Minnie Riperton,
Clear Light,
Electric Prunes,
Stockholm Monsters,
The Mighty Diamonds,
Kango’s Stein Massive,
Accadde A,
Au Pairs,
Yellowson,
Wolf Eyes,
Louis and Bebe Barron,
Rufus Thomas,
Von Mondo,
Negative Approach,
The Seeds,
Carl Craig,
The Happenings,
Gang Starr,
The Five Americans,
Minor Threat,
The Fuzztones,
Gerry Rafferty,
Television,
Mr. Review,
Crooked Eye,
The Leaves,
Bluetip,
The Cosmic Jokers,
Grey Daturas,
Buzzcocks,
Jeru the Damaja,
Amon Düül II,
Ronnie Foster,
The Residents, The Residents, The Residents, The Residents.
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.