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 Ethiopia and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
I'm losing my edge to the art-school Sao Paulo 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 güiro 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 The Associates to the punk 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 Soft Machine. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every H. Thieme record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
The Gories,
Deakin,
These Immortal Souls,
Soft Machine,
Spandau Ballet,
The United States of America,
Shuggie Otis,
The Human League,
Stetsasonic,
The Walker Brothers,
Prince Buster,
Bill Wells,
Black Sheep,
Cameo,
The Dave Clark Five,
Frankie Knuckles,
Gabor Szabo,
Selector Dub Narcotic,
James White and The Blacks,
Los Fastidios,
Alphaville,
Janne Schatter,
Lower 48,
Siouxsie and the Banshees,
The Saints,
Massinfluence,
Alison Limerick,
Crooked Eye,
Rhythim Is Rhythim,
Faust,
Warren Ellis,
Procol Harum,
Livin' Joy,
Interpol,
The Electric Prunes,
Kurtis Blow,
Neil Young & Crazy Horse,
The Residents,
Country Joe & The Fish,
Black Flag,
Bobby Womack,
Skriet,
Man Parrish,
Quadrant,
Nico,
Bill Near,
Derrick Morgan,
The Men They Couldn't Hang,
Infiniti,
Tommy Roe,
The Fuzztones,
Maleditus Sound,
Mad Mike,
MDC,
Underground Resistance,
Circle Jerks,
Black Moon,
Popol Vuh,
Excepter,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.