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 Cambodia and from Halifax.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Toronto.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Divine Comedy to the punk kids.
I played it at the Crocodile.
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 Cabaret Voltaire. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
The J.B.'s,
Delon & Dalcan,
Slave,
The Evens,
Jeff Lynne,
Qualms,
Procol Harum,
Urselle,
Rhythm & Sound,
Public Enemy,
The Alarm Clocks,
Strawberry Alarm Clock,
8 Eyed Spy,
Tropical Tobacco,
The Slackers,
Silicon Teens,
Lou Reed & Metallica,
Lalo Schifrin,
Mantronix,
The Pop Group,
Second Layer,
The Slits,
Matthew Halsall,
Be Bop Deluxe,
Bob Dylan,
Rufus Thomas,
The Wake,
ABC,
Tim Buckley,
Half Japanese,
Traffic Nightmare,
The Selecter,
Sex Pistols,
Ultra Naté,
Glenn Branca,
Kenny Larkin,
Lower 48,
Radiopuhelimet,
Ash Ra Tempel,
Jandek,
Alison Limerick,
Ralphi Rosario,
Rowland S Howard / Lydia Lunch,
MDC,
The Litter,
Organ,
Don Cherry,
Fad Gadget,
Black Sheep,
Oblivians,
Lou Reed & John Cale,
Ossler,
Crooked Eye,
Orchestral Manoeuvres in the Dark,
Charles Mingus,
Sly & The Family Stone,
Soul Sonic Force,
L. Decosne,
Marcia Griffiths,
Vladislav Delay,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.