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 Cuba and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1964 to 1976.
I'm losing my edge.
To all the kids in Spokane and Bremen.
I'm losing my edge to the art-school New York 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Eyeless In Gaza to the electroclash 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 Hot Snakes. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal grunge 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 guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Scrapy,
L. Decosne,
Liliput,
Marc Almond,
Howard Jones,
Janne Schatter,
Eden Ahbez,
Babytalk,
Niagra,
Cecil Taylor,
The Stooges,
the Sonics,
Scott Walker + Sunn O))),
The Remains,
Mary Jane Girls,
Nas,
Fela Kuti,
Kauko Röyhkä ja Narttu,
Ohio Players,
Excepter,
Bad Manners,
Deutsch Amerikanische Freundschaft,
Bang On A Can,
Cybotron,
Thinking Fellers Union Local 282,
AZ,
Reagan Youth,
Bobby Womack,
The Smiths,
CMW,
Hashim,
Michelle Simonal,
Ultravox,
The Martian,
Gang Green,
Magazine,
Newcleus,
Lou Reed & John Cale,
Lalo Schifrin,
Sexual Harrassment,
Shuggie Otis,
Marmalade,
Pharoah Sanders,
Surgeon,
Jawbox,
Gang Starr,
Interpol,
Strawberry Alarm Clock,
Anakelly,
Kenny Larkin,
Mission of Burma,
Gerry Rafferty,
Zero Boys,
Accadde A,
The Seeds,
The Victims,
The Cramps,
Gregory Isaacs,
Soul II Soul,
Chrome, Chrome, Chrome, Chrome.
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.