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 Liberia and from Toronto.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Delhi and Paris.
I'm losing my edge to the art-school Paris 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 808 sounds with much patience.
I was there when Lou Reed 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 Johnny Clarke to the grunge 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 The Remains. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Barclay James Harvest 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
These Immortal Souls,
Interpol,
Khruangbin,
Aswad,
The Fire Engines,
cv313,
The New Christs,
June of 44,
Bootsy's Rubber Band,
Cal Tjader,
Radiohead,
Tomorrow,
Scott Walker,
Cabaret Voltaire,
Circle Jerks,
David Axelrod,
a-ha,
The Cramps,
The Monks,
Index,
Liaisons Dangereuses,
Ituana,
Howard Jones,
The Move,
Franke,
Sixth Finger,
Rowland S Howard / Lydia Lunch,
This Heat,
Joyce Sims,
Simply Red,
The Fortunes,
the Association,
Tubeway Army,
Hasil Adkins,
Gang Starr,
Bobby Byrd,
Erasure,
Fugazi,
EPMD,
Red Lorry Yellow Lorry,
Little Man,
Wasted Youth,
K-Klass,
Lebanon Hanover,
Black Sheep,
Television Personalities,
Second Layer,
Masters at Work,
Oppenheimer Analysis,
Fad Gadget,
Idris Muhammad,
Tom Boy,
Slick Rick,
Notorious Big And Bone Thugs,
Deakin,
Marcia Griffiths,
The Standells,
Soft Machine,
Gian Franco Pienzio,
the Fania All-Stars,
The Music Machine,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.