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 Korea North and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Woodstock.
I'm losing my edge to the art-school Spokane 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 oboe 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 Johnny Osbourne to the grime kids.
I played it at Trash.
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 Popol Vuh. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal dance 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 a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
Dawn Penn,
Silicon Teens,
Albert Ayler,
Red Lorry Yellow Lorry,
Suburban Knight,
Lizzy Mercier Descloux,
Black Bananas,
John Foxx,
Crispian St. Peters,
Juan Atkins,
Drive Like Jehu,
Robert Wyatt,
Half Japanese,
John Cale,
The Detroit Cobras,
The West Coast Pop Art Experimental Band,
Q65,
Essential Logic,
Thinking Fellers Union Local 282,
Josef K,
Pantytec,
MDC,
Banda Bassotti,
The Birthday Party,
Lucky Dragons,
Blossom Toes,
Dorothy Ashby,
Scrapy,
Eric B and Rakim,
Eurythmics,
Yazoo,
Swans,
Television,
Roger Hodgson,
The Offenders,
Anakelly,
This Heat,
Gian Franco Pienzio,
Mary Jane Girls,
Clear Light,
Scientists,
Quantec,
Monks,
Deadbeat,
Pagans,
Television Personalities,
Intrusion,
The Gories,
Popol Vuh,
Janne Schatter,
Richard Hell and the Voidoids,
Excepter,
Althea and Donna,
Joy Division,
Black Flag,
the Slits,
The Gladiators,
The American Breed,
Pharaoh Sanders and the Fire Engines,
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.