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 Oman and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Bologna and Glasgow.
I'm losing my edge to the art-school Calgary 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 güiro sounds with much patience.
I was there when Lou Reed 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 Neil Young to the funk kids.
I played it at the Hacienda.
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 Gabor Szabo. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Lungfish record on German import.
I heard that you have a white label of every seminal rap 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 linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
Fad Gadget,
Gil Scott-Heron & Brian Jackson,
Nirvana,
Depeche Mode,
Andrew Ashong & Theo Parrish,
June of 44,
Man Eating Sloth,
The Sonics,
Oblivians,
Gastr Del Sol,
Das Ding,
The Fire Engines,
Magma,
MC5,
Public Image Ltd.,
the Association,
Robert Görl,
Captain Beefheart & His Magic Band,
Excepter,
Deutsch Amerikanische Freundschaft,
Boogie Down Productions,
Piero Umiliani,
U.S. Maple,
Make Up,
Shuggie Otis,
Josef K,
Masters at Work,
The Red Krayola,
Girls At Our Best!,
Eyeless In Gaza,
Kings Of Tomorrow,
The Victims,
Goldenarms,
Blake Baxter,
Black Moon,
Audionom,
The Skatalites,
Cabaret Voltaire,
The Wake,
The Saints,
Peter and Kerry,
Lightning Bolt,
Pierre Henry,
Drive Like Jehu,
Young Marble Giants,
Intrusion,
Yellowson,
Eve St. Jones,
Blancmange,
Shoche,
Blossom Toes,
Grey Daturas,
Circle Jerks,
Dead Boys,
Bang On A Can,
Fela Kuti,
Chrome,
The Walker Brothers,
Matthew Halsall,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.