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 Gambia and from Hong Kong.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Houston and Toronto.
I'm losing my edge to the art-school Tokyo 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Eli Mardock to the dance kids.
I played it at the Hacienda.
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 Roy Ayers Ubiquity. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Sarah Menescal 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 a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
La Düsseldorf,
Curtis Mayfield,
Neil Young,
Zapp,
Gang Gang Dance,
Freddie Wadling,
Shuggie Otis,
Marcia Griffiths,
Visage,
Hot Snakes,
the Sonics,
Jacques Brel,
Spoonie Gee,
Flipper,
Wings,
Dawn Penn,
It's A Beautiful Day,
Archie Shepp,
Al Stewart,
Gil Scott Heron,
The Jesus and Mary Chain,
The Young Rascals,
PIL,
Intrusion,
Sonny Sharrock,
Crime,
Bronski Beat,
Henry Cow,
MDC,
Bush Tetras,
The Moody Blues,
The Index,
Popol Vuh,
Livin' Joy,
Lungfish,
Alphaville,
Scion,
Mo-Dettes,
The New Christs,
Iggy Pop,
Marine Girls,
The Detroit Cobras,
Sly & The Family Stone,
The Pretty Things,
The Knickerbockers,
Kenny Larkin,
F. McDonald,
Fat Boys,
The Flesh Eaters,
Goldenarms,
The Blues Magoos,
Simply Red,
Brass Construction,
Alice Coltrane,
Kevin Saunderson,
Bob Dylan,
Jimmy McGriff,
Ultra Naté,
Hoover, Hoover, Hoover, Hoover.
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.