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 Poland and from Calgary.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Tehran.
I'm losing my edge to the art-school Mumbai 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 clarinet 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 Blossom Toes to the funk kids.
I played it at the Spitz.
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 Pere Ubu. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Laurel Aitken 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 '80s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Lebanon Hanover,
Cymande,
the Human League,
DJ Sneak,
Barclay James Harvest,
Aaron Thompson,
Sight & Sound,
Bobby Sherman,
Siouxsie and the Banshees,
Metal Thangz,
The Martian,
Eurythmics,
Severed Heads,
Notorious BIG live in Amsterdam,
Ituana,
Crooked Eye,
Radio Birdman,
Television,
Brick,
Main Source,
The Walker Brothers,
Arthur Verocai,
Eric B and Rakim,
World's Most,
Silicon Teens,
The Zeros,
Black Flag,
The Star Department,
Michelle Simonal,
Television Personalities,
the Soft Cell,
Loose Ends,
Half Japanese,
Scan 7,
FM Einheit,
Kurtis Blow,
Robert Görl,
The United States of America,
Bush Tetras,
Big Daddy Kane,
The Monks,
Easy Going,
the Sonics,
A Certain Ratio,
Marshall Jefferson,
Rites of Spring,
The Velvet Underground,
The Skatalites,
Tommy Roe,
X-102,
8 Eyed Spy,
PIL,
Godley & Creme,
Gregory Isaacs,
Henry Cow,
The West Coast Pop Art Experimental Band,
Flamin' Groovies,
David Axelrod,
Public Enemy,
Fifty Foot Hose,
Rowland S Howard / Lydia Lunch,
Bang On A Can,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.