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 Equatorial Guinea 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 1966 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Stockholm 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord 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 Adolescents to the crunk kids.
I played it at the Troubador.
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 Lizzy Mercier Descloux. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Henry Cow,
the Bar-Kays,
China Crisis,
Nils Olav,
Porter Ricks,
Andrew Ashong & Theo Parrish,
Derrick May,
Lee Hazlewood,
Circle Jerks,
Mark Hollis,
Tommy Roe,
Section 25,
the Sonics,
Lou Reed,
Aswad,
The Beau Brummels,
Kerrie Biddell,
The Five Americans,
The Count Five,
the Swans,
Camron Feat. Jay Z And Juelz,
Negative Approach,
Eurythmics,
Duran Duran,
Roger Hodgson,
Swell Maps,
DJ Style,
Brick,
Das Ding,
X-102,
The Chocolate Watch Band,
Joey Negro,
Oblivians,
Rhythim Is Rhythim,
John Coltrane,
Joy Division,
Main Source,
Robert Hood,
The Searchers,
Vainqueur,
Fugazi,
Avey Tare & Kría Brekkan,
Sexual Harrassment,
Schoolly D,
Wasted Youth,
Mission of Burma,
Gerry Rafferty,
Terry Callier,
Brand Nubian,
World's Most,
Manfred Mann's Earth Band,
The Toasters,
Freddie Wadling,
Second Layer,
Juan Atkins,
Graham Central Station,
Sun City Girls,
Ossler,
Johnny Clarke,
Silicon Teens,
Pet Shop Boys,
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.