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 Colombia and from Lille.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1975.
I'm losing my edge.
To all the kids in Hong Kong and Bremen.
I'm losing my edge to the art-school Taipei 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare 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 Fluxion to the grunge kids.
I played it at the Roxy.
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 The Wake. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Gichy Dan record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 The Techniques record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
Henry Cow,
Röyhkä ja Rättö ja Lehtisalo,
The Saints,
Absolute Body Control,
The Buckinghams,
The Doobie Brothers,
Roxy Music,
Harpers Bizarre,
Yusef Lateef,
Echospace,
DNA,
Quadrant,
10cc,
The United States of America,
Be Bop Deluxe,
The Move,
Unrelated Segments,
Arab on Radar,
Joy Division,
Oppenheimer Analysis,
The Birthday Party,
Rahsaan Roland Kirk,
Dennis Brown,
Goldenarms,
The Pop Group,
London Community Gospel Choir,
Major Organ And The Adding Machine,
Darondo,
Cabaret Voltaire,
Fear,
kango's stein massive,
Mandrill,
The Jesus and Mary Chain,
Bush Tetras,
DJ Sneak,
Judy Mowatt,
Saccharine Trust,
Soul II Soul,
Stockholm Monsters,
Louis and Bebe Barron,
Fad Gadget,
Black Moon,
Rosa Yemen,
Juan Atkins,
Dark Day,
The Fugs,
Alice Coltrane,
Bill Wells,
Ossler,
Slave,
Yellowson,
UT,
World's Most,
The Moleskins,
Roxette,
Oneida,
Suicide,
Beasts of Bourbon,
Country Joe & The Fish,
the Association,
Magazine,
Eddi Front,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.