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 Belarus and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1974.
I'm losing my edge.
To all the kids in New York and Tehran.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Pharaoh Sanders and the Fire Engines to the grime 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 Monolake. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Alice Coltrane,
The Human League,
Franke,
Dark Day,
X-102,
Scott Walker,
Rekid,
Radiohead,
Rapeman,
Minor Threat,
Ken Boothe,
The Busters,
Urselle,
Kool Moe Dee,
Royal Trux,
Barclay James Harvest,
The Shadows of Knight,
Junior Murvin,
Amazonics,
Kurtis Blow,
Eric Copeland,
A Flock of Seagulls,
Harpers Bizarre,
Manfred Mann's Earth Band,
Marshall Jefferson,
Cecil Taylor,
Lalann,
Malaria!,
Ash Ra Tempel,
Blancmange,
Agent Orange,
Dead Boys,
Art Ensemble Of Chicago,
The Young Rascals,
Bluetip,
Robert Hood,
Patti Smith,
The Sonics,
Lyres,
The Sound,
Bad Manners,
Sandy B,
Pharaoh Sanders and the Fire Engines,
Judy Mowatt,
The West Coast Pop Art Experimental Band,
Fela Kuti,
Tim Buckley,
Connie Case,
Eddi Front,
L. Decosne,
Can,
Wighnomy Brothers & Robag Wruhme,
Bobby Hutcherson,
The Flesh Eaters,
Babytalk,
Supertramp,
Whodini,
Massinfluence,
Delta 5,
Teenage Jesus and the Jerks,
Little Man,
Bill Near, Bill Near, Bill Near, Bill Near.
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.