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 Laos and from Copenhagen.
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 1964 to 1972.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school Toronto 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Invisible to the grunge kids.
I played it at the Astoria.
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 Alarm Clocks. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Sällskapet 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Heaven 17,
Ossler,
The Martian,
Swans,
Gregory Isaacs,
David Axelrod,
Gary Puckett & The Union Gap,
Blake Baxter,
Malaria!,
The Motions,
New Order,
Moebius,
Soulsonic Force,
The West Coast Pop Art Experimental Band,
The Knickerbockers,
The Doors,
Deakin,
Don Cherry,
The Saints,
Freddie Wadling,
Pharaoh Sanders and the Fire Engines,
Ultramagnetic MC's,
Kenny Larkin,
Altered Images,
World's Most,
Ultra Naté,
Major Organ And The Adding Machine,
Louis and Bebe Barron,
Essential Logic,
Lou Reed,
Bill Near,
Wire,
Laurel Aitken,
Roxy Music,
The Black Dice,
Barrington Levy,
U.S. Maple,
Black Flag,
8 Eyed Spy,
Bluetip,
Michelle Simonal,
Country Joe & The Fish,
Rekid,
Oneida,
Radiohead,
It's A Beautiful Day,
DNA,
Simply Red,
Janne Schatter,
Derrick May,
Mandrill,
The Moody Blues,
Guru Guru,
Dark Day,
Gabor Szabo,
Intrusion,
Sad Lovers and Giants,
Neil Young,
Donny Hathaway,
Stockholm Monsters,
Terry Callier,
The Wake, The Wake, The Wake, The Wake.
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.