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 Morocco and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Manchester.
I'm losing my edge to the art-school Calgary 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Accadde A to the rock kids.
I played it at the Hacienda.
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 Anthony Braxton. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Mars 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Cecil Taylor,
The American Breed,
The Toasters,
Sad Lovers and Giants,
The Mighty Diamonds,
Clear Light,
The Litter,
Quadrant,
Roy Ayers,
Fatback Band,
Toni Rubio,
The Royal Family And The Poor,
Adolescents,
Ohio Players,
Gian Franco Pienzio,
Icehouse,
The Black Dice,
Section 25,
The Detroit Cobras,
The Victims,
10cc,
Lower 48,
Grandmaster Flash and the Furious Five,
Bluetip,
Kenny Larkin,
Radiopuhelimet,
T.S.O.L.,
Sun Ra Arkestra,
Subhumans,
Pantaleimon,
Fad Gadget,
Mantronix,
Tropical Tobacco,
David McCallum,
Monolake,
Lou Reed & John Cale,
Mo-Dettes,
The Pretty Things,
Q65,
the Association,
Mars,
Outsiders,
The Gun Club,
Stockholm Monsters,
DJ Sneak,
Crispian St. Peters,
Oppenheimer Analysis,
Girls At Our Best!,
Al Stewart,
Super Lover Cee & Casanova Rud,
PIL,
Procol Harum,
Mandrill,
Alice Coltrane,
Jeff Lynne,
Audionom,
Brass Construction,
Dorothy Ashby,
Black Bananas,
Throbbing Gristle,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.