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 South Africa and from Lagos.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Seoul and Stockholm.
I'm losing my edge to the art-school Calgary 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba 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 Sam Rivers 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 Massinfluence. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every The Trojans record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Theoretical Girls,
Heaven 17,
Young Marble Giants,
Avey Tare,
Fort Wilson Riot,
The Monochrome Set,
a-ha,
Pole,
Erasure,
Oneida,
Infiniti,
Traffic Nightmare,
Ultravox,
Sonny Sharrock,
The Names,
Scrapy,
Jacob Miller,
Deakin,
Rufus Thomas,
LL Cool J,
Q65,
Louis and Bebe Barron,
Parry Music,
Selector Dub Narcotic,
Minor Threat,
Goldenarms,
Juan Atkins,
The Slackers,
Fear,
Inner City,
Grandmaster Flash and the Furious Five,
Henry Cow,
John Holt,
Barbara Tucker,
Deepchord,
Siouxsie and the Banshees,
The Seeds,
Rhythim Is Rhythim,
Roxy Music,
The Birthday Party,
Nils Olav,
Marvin Gaye,
Soft Machine,
Ajijia Myrayebe,
Gastr Del Sol,
The Litter,
L. Decosne,
Tim Buckley,
Flamin' Groovies,
Funkadelic,
Sparks,
The Royal Family And The Poor,
The Black Dice,
Faust,
Delta 5,
Eric Dolphy,
Nick Fraelich,
Cymande,
Bootsy's Rubber Band,
Quando Quango,
Tubeway Army,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.