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 Sudan and from Calgary.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Portland and Cairo.
I'm losing my edge to the art-school Edmonton 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 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 The Motions to the electroclash kids.
I played it at the Astoria.
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 Grandmaster Flash. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Tim Buckley 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
The Sisters of Mercy,
Kauko Röyhkä ja Narttu,
The Evens,
Chris Corsano,
Flipper,
Whodini,
the Fania All-Stars,
Neil Young & Crazy Horse,
Half Japanese,
Drexciya,
The Black Dice,
Bootsy Collins,
Avey Tare & Kría Brekkan,
Main Source,
Bill Wells,
Harpers Bizarre,
UT,
Eric Copeland,
a-ha,
Rekid,
Ajijia Myrayebe,
H. Thieme,
Groovy Waters,
Sun Ra,
Franke,
Morten Harket,
James White and The Blacks,
Mad Mike,
John Cale,
Nick Cave & The Bad Seeds,
Alton Ellis,
The Remains,
The Angels of Light,
Tommy Roe,
Dorothy Ashby,
Archie Shepp,
Massinfluence,
Danielle Patucci,
Todd Terry,
Stiv Bators,
Das Ding,
Siglo XX,
Michelle Simonal,
Dual Sessions,
Severed Heads,
Subhumans,
The Star Department,
Peter Gordon & Love of Life Orchestra,
Dark Day,
Orchestral Manoeuvres in the Dark,
Popol Vuh,
the Soft Cell,
Brick,
Kayak,
Pierre Henry,
John Foxx,
Kango’s Stein Massive,
David McCallum,
Beasts of Bourbon,
Byron Stingily,
Eric B and Rakim,
The Smoke,
Jandek,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.