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 Ghana and from Mumbai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Calgary.
I'm losing my edge to the art-school New York 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 Audionom to the punk kids.
I played it at Cafe Wha.
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 Ajijia Myrayebe. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Electric Prunes 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
Schoolly D,
Country Joe & The Fish,
Sunsets and Hearts,
Lee Hazlewood,
Terrestrial Tones,
Radiopuhelimet,
Mr. Review,
Heaven 17,
Jeru the Damaja,
The Peanut Butter Conspiracy,
Matthew Halsall,
Crispian St. Peters,
The Walker Brothers,
Jeff Lynne,
Marshall Jefferson,
The Sonics,
Kerrie Biddell,
Newcleus,
Desert Stars,
Henry Cow,
Eli Mardock,
Main Source,
The Remains,
Lower 48,
Reuben Wilson,
Moebius,
Roxy Music,
Jeff Mills,
Echo & the Bunnymen,
The Kinks,
Nik Kershaw,
Josef K,
T.S.O.L.,
Steve Hackett,
Mars,
Soulsonic Force,
Isaac Hayes,
Eyeless In Gaza,
The Birthday Party,
Maurizio,
Stereo Dub,
Ludus,
The Associates,
Howard Jones,
48th St. Collective,
Robert Görl,
Wings,
Drive Like Jehu,
Aural Exciters,
Grey Daturas,
The Electric Prunes,
Sound Behaviour,
KRS-One,
Skarface,
The Divine Comedy,
The Selecter,
Rites of Spring,
Manfred Mann's Earth Band,
Urselle,
Big Daddy Kane,
Gong, Gong, Gong, Gong.
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.