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 Chile and from Spokane.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
I'm losing my edge to the art-school Mexico City 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 guitar 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 Boogie Down Productions to the grime kids.
I played it at the 40 Watt.
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 Lou Reed. All the underground hits.
All Scott Walker + Sunn O))) tracks. I heard you have a vinyl of every Ponytail 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Louis and Bebe Barron,
Colin Newman,
Pete Rock & C.L. Smooth,
Pierre Henry,
The Standells,
H. Thieme,
The Martian,
Steve Hackett,
Terry Callier,
The Knickerbockers,
Scrapy,
Jawbox,
Quadrant,
Infiniti,
Scion,
Delon & Dalcan,
Icehouse,
The Wake,
The Remains,
Mantronix,
Easy Going,
Suburban Knight,
Dual Sessions,
Archie Shepp,
Althea and Donna,
Ten City,
Josef K,
B.T. Express,
Radio Birdman,
Interpol,
Funkadelic,
Hasil Adkins,
Rowland S Howard / Lydia Lunch,
Al Stewart,
Bobby Byrd,
Arab on Radar,
The Fall,
Royal Trux,
Sarah Menescal,
The Sisters of Mercy,
JFA,
The Durutti Column,
The Fugs,
Spandau Ballet,
Deutsch Amerikanische Freundschaft,
The Walker Brothers,
The Black Dice,
The Alarm Clocks,
Porter Ricks,
Lindisfarne,
Absolute Body Control,
The Raincoats,
Cybotron,
Visage,
The Motions,
Alphaville,
Main Source,
The Mummies,
Throbbing Gristle,
Ronan,
Rod Modell,
Model 500,
China Crisis,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.