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 Nepal and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1971.
I'm losing my edge.
To all the kids in Beijing and Seoul.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Half Japanese to the rock 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 Pete Rock & C.L. Smooth. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Jeff Mills 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 '70s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Tommy Roe,
Bad Manners,
Rosa Yemen,
Orchestral Manoeuvres in the Dark,
Bauhaus,
Charles Mingus,
Patti Smith,
Sonny Sharrock,
The Leaves,
Sugar Minott,
Qualms,
Pulsallama,
Kevin Saunderson,
FM Einheit,
The Young Rascals,
The Gories,
Stereo Dub,
Oppenheimer Analysis,
Traffic Nightmare,
the Germs,
John Cale,
Oneida,
Black Pus,
Trumans Water,
Brand Nubian,
Matthew Bourne,
Marc Almond,
Buzzcocks,
Nirvana,
Notorious BIG live in Amsterdam,
The Invisible,
The Detroit Cobras,
Amon Düül,
Massinfluence,
Bill Near,
Boz Scaggs,
Al Stewart,
June Days,
U.S. Maple,
Supertramp,
Procol Harum,
Lou Reed & John Cale,
Stetsasonic,
Lalo Schifrin,
Lyres,
Motorama,
cv313,
Eddi Front,
The Electric Prunes,
Cymande,
Blossom Toes,
The Misunderstood,
the Soft Cell,
Hoover,
Masters at Work,
Colin Newman,
Jacques Brel,
Reuben Wilson,
The Doobie Brothers,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.