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 Switzerland and from Stockholm.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Salvador and Bremen.
I'm losing my edge to the art-school Winnipeg 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 oboe sounds with much patience.
I was there when Captain Beefheart 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 Nils Olav to the funk kids.
I played it at Cafe Wha.
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 Kaleidoscope. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Neil Young 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Q65,
Roy Ayers,
Pharoah Sanders,
the Soft Cell,
the Human League,
Tears for Fears,
John Lydon,
Siglo XX,
Pierre Henry,
The Victims,
Von Mondo,
The Alarm Clocks,
Icehouse,
Marshall Jefferson,
Mission of Burma,
U.S. Maple,
Sexual Harrassment,
Scrapy,
New Age Steppers,
DNA,
The Index,
The Fire Engines,
Davy DMX,
The Knickerbockers,
Gang Starr,
Massinfluence,
Big Daddy Kane,
Funkadelic,
The Fortunes,
John Cale,
These Immortal Souls,
Boredoms,
The Young Rascals,
UT,
Gastr Del Sol,
The Offenders,
Notorious BIG live in Amsterdam,
Aloha Tigers,
Kas Product,
Scan 7,
David Bowie,
Girls At Our Best!,
Angels of Light & Akron/Family,
Panda Bear,
EPMD,
Gregory Isaacs,
Half Japanese,
The Monochrome Set,
Circle Jerks,
Agitation Free,
Marcia Griffiths,
Pagans,
Sällskapet,
The Trojans,
Todd Rundgren,
OOIOO,
Quando Quango,
Sun Ra Arkestra,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.