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 Iran and from Woodstock.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Mumbai.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Lou Christie to the dance 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 Warsaw. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
The Durutti Column,
OOIOO,
Bauhaus,
Brothers Johnson,
Fad Gadget,
Crispy Ambulance,
The Zeros,
Negative Approach,
Porter Ricks,
Matthew Bourne,
U.S. Maple,
Mark Hollis,
Harpers Bizarre,
Godley & Creme,
Eric B and Rakim,
Camouflage,
The Cosmic Jokers,
The Doobie Brothers,
The Cowsills,
Magazine,
the Bar-Kays,
cv313,
Gian Franco Pienzio,
Man Parrish,
Pulsallama,
Chrome,
Nick Cave & The Bad Seeds,
Rosa Yemen,
Henry Cow,
JFA,
Amon Düül,
Eric Dolphy,
Country Joe & The Fish,
T.S.O.L.,
Monks,
Average White Band,
Roger Hodgson,
Bill Near,
Cluster,
The Litter,
Los Fastidios,
Marshall Jefferson,
Clear Light,
Derrick May,
Spoonie Gee,
Adolescents,
Pharoah Sanders,
Ituana,
Red Lorry Yellow Lorry,
Electric Prunes,
Big Daddy Kane,
Yusef Lateef,
Lyres,
Alison Limerick,
Avey Tare's Slasher Flicks,
Curtis Mayfield,
Bizarre Inc.,
Bill Wells,
Gang Green,
Bob Dylan,
Dark Day,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.