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 Georgia and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Halifax and London.
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 Donald Fagen 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 Fall to the punk 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 Susan Cadogan. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your guitar and bought a snare.
I hear that you and your band have sold your snare and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
The Sisters of Mercy,
Amon Düül II,
Liliput,
Henry Cow,
China Crisis,
Barry Ungar,
The Human League,
UT,
JFA,
Rotary Connection,
Whodini,
Joe Smooth,
The Detroit Cobras,
48th St. Collective,
Rahsaan Roland Kirk,
Louis and Bebe Barron,
Talk Talk,
Fluxion,
Fugazi,
De La Soul & Jungle Brothers,
Barrington Levy,
Negative Approach,
Half Japanese,
The Doors,
Roxy Music,
Yaz,
The Wake,
Byron Stingily,
Motorama,
Oppenheimer Analysis,
Porter Ricks,
LL Cool J,
Lou Reed,
Rekid,
Lalann,
Donny Hathaway,
Tim Buckley,
Grey Daturas,
Heaven 17,
The Zeros,
Richard Hell and the Voidoids,
Jerry Gold Smith,
Todd Terry,
Cameo,
Prince Buster,
X-101,
Rufus Thomas,
The Sound,
Delon & Dalcan,
The Star Department,
Malaria!,
Gerry Rafferty,
The Victims,
Cybotron,
Ludus,
Pharaoh Sanders and the Fire Engines,
Black Flag,
Deakin,
Ohio Players,
Albert Ayler,
Neil Young,
Shuggie Otis,
Harpers Bizarre,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.