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 Marshall Islands and from Paris.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1978.
I'm losing my edge.
To all the kids in Shanghai and Houston.
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 John Holt to the rock kids.
I played it at the 40 Watt.
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 Franke. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Technova 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 '80s cut and another box set from the '70s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Echospace,
Mr. Review,
The Invisible,
Roxette,
Soft Machine,
The Flesh Eaters,
Visage,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Cramps,
Crash Course in Science,
Amon Düül II,
the Bar-Kays,
Sällskapet,
Deadbeat,
Sonic Youth,
Fugazi,
Manfred Mann's Earth Band,
Marine Girls,
Moby Grape,
Interpol,
Shoche,
The Evens,
Yaz,
the Slits,
X-101,
Terry Callier,
Neil Young & Crazy Horse,
Schoolly D,
Von Mondo,
Deakin,
Pole,
Beasts of Bourbon,
The Fall,
Carl Craig,
Electric Prunes,
Sunsets and Hearts,
Black Flag,
Sex Pistols,
The Standells,
Oblivians,
Pet Shop Boys,
Quadrant,
The Blackbyrds,
De La Soul & Jungle Brothers,
Swans,
8 Eyed Spy,
The Victims,
Funkadelic,
Avey Tare & Kría Brekkan,
The Dave Clark Five,
Intrusion,
H. Thieme,
Barrington Levy,
Barry Ungar,
Supertramp,
Royal Trux,
Radiohead,
Sun Ra,
Harmonia,
This Heat,
The Stooges,
Vladislav Delay, Vladislav Delay, Vladislav Delay, Vladislav Delay.
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.