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 Costa Rica and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Spokane 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 Max Romeo to the dance kids.
I played it at Trash.
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 Mr. Review. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Organ record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Jacques Brel,
Los Fastidios,
Tears for Fears,
FM Einheit,
Accadde A,
Heavy D & The Boyz,
Flipper,
Slick Rick,
Buzzcocks,
Lizzy Mercier Descloux,
The Buckinghams,
Prince Buster,
Wighnomy Brothers & Robag Wruhme,
Masters at Work,
Monks,
Stereo Dub,
Amon Düül,
Moebius,
Kas Product,
DNA,
The Gladiators,
Soft Machine,
the Soft Cell,
Cluster,
The Dirtbombs,
In Retrospect,
The Mighty Diamonds,
The Associates,
the Germs,
Visionaries,LMNO, T- Love & Iriscience,
Echo & the Bunnymen,
Fat Boys,
Minutemen,
Rapeman,
MDC,
Carl Craig,
Sugar Minott,
Avey Tare & Kría Brekkan,
The Last Poets,
Ultravox,
Dark Day,
Connie Case,
Reuben Wilson,
Harry Pussy,
Frankie Knuckles,
The Fire Engines,
Terror Squad Feat. Camron,
Depeche Mode,
Max Romeo,
PIL,
Franke,
Sun Ra,
Japan,
Young Marble Giants,
Minor Threat,
Nas,
Gang Starr,
Gil Scott-Heron and Jamie xx,
The Names,
Pere Ubu,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.