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 United Kingdom and from Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Seoul and Delhi.
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 guitar sounds with much patience.
I was there when Nile Rodgers 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 The Pretty Things to the jazz kids.
I played it at CBGB's.
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 Stockholm Monsters. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Derrick Morgan record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Stetsasonic,
Unwound,
Brass Construction,
Flipper,
Kool Moe Dee,
Aaron Thompson,
Letta Mbulu,
Yellowson,
Khruangbin,
Lungfish,
Unrelated Segments,
Dorothy Ashby,
Peter & Gordon,
Zapp,
The Electric Prunes,
Mad Mike,
the Bar-Kays,
Red Lorry Yellow Lorry,
Schoolly D,
Sad Lovers and Giants,
Blossom Toes,
The Leaves,
Popol Vuh,
James Chance & The Contortions,
Bronski Beat,
Beasts of Bourbon,
Marmalade,
Boz Scaggs,
Clear Light,
kango's stein massive,
Arthur Verocai,
Leonard Cohen,
E-Dancer,
Aural Exciters,
Masters at Work,
Radio Birdman,
Be Bop Deluxe,
H. Thieme,
Lindisfarne,
Gichy Dan,
The Durutti Column,
Mr. Review,
Fifty Foot Hose,
Pulsallama,
Bizarre Inc.,
X-102,
John Holt,
Flamin' Groovies,
Vaughan Mason & Crew,
Arcadia,
Mark Hollis,
Ultra Naté,
Wasted Youth,
The Invisible,
Toni Rubio,
The Dead C,
Easy Going,
Sexual Harrassment,
The Cramps,
Dead Boys,
Rowland S Howard / Lydia Lunch,
The Golliwogs,
The Litter, The Litter, The Litter, The Litter.
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.