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 Liberia and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Paris and Madrid.
I'm losing my edge to the art-school Mexico City 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 spring reverb 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 Amon Düül to the punk kids.
I played it at the 40 Watt.
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 L. Decosne. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal disco 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 a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
The Doors,
Judy Mowatt,
Reuben Wilson,
Blossom Toes,
Eddi Front,
Richard Hell and the Voidoids,
Subhumans,
Main Source,
The Walker Brothers,
Röyhkä ja Rättö ja Lehtisalo,
Severed Heads,
Rites of Spring,
Orchestral Manoeuvres in the Dark,
Scott Walker,
Cheater Slicks,
Pole,
The Fugs,
Joey Negro,
Godley & Creme,
Patti Smith,
Jesper Dahlbäck,
Siglo XX,
Cluster,
Rekid,
Pharaoh Sanders and the Fire Engines,
Monolake,
Underground Resistance,
Neu!,
Bill Near,
Lyres,
Ultra Naté,
Dorothy Ashby,
Brick,
Fifty Foot Hose,
Fat Boys,
The Selecter,
The Angels of Light,
Absolute Body Control,
Make Up,
Television Personalities,
The Dead C,
Jacques Brel,
Wolf Eyes,
Gang Gang Dance,
Bobby Hutcherson,
Heavy D & The Boyz,
cv313,
Susan Cadogan,
The Star Department,
Roy Ayers,
The Tremeloes,
Vaughan Mason & Crew,
Trumans Water,
Khruangbin,
Schoolly D,
Captain Beefheart & His Magic Band,
The Kinks,
Infiniti,
Moebius,
Grandmaster Flash and the Furious Five,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.