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 Lebanon and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1977.
I'm losing my edge.
To all the kids in Lille and Lagos.
I'm losing my edge to the art-school Houston 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 harpsichord 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 Flash Fearless to the techno kids.
I played it at Cafe Wha.
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 Das Ding. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every The Neon Judgement record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sällskapet,
These Immortal Souls,
Art Ensemble Of Chicago,
The Selecter,
Lakeside,
Ten City,
Manfred Mann's Earth Band,
Susan Cadogan,
Fat Boys,
Josef K,
Audionom,
Camron Feat. Memphis Bleek And Beenie Seigel,
Captain Beefheart & His Magic Band,
Aloha Tigers,
John Lydon,
AZ,
New York Dolls,
the Germs,
New Age Steppers,
De La Soul & Jungle Brothers,
Yazoo,
the Soft Cell,
Louis and Bebe Barron,
Sam Rivers,
The Count Five,
Bootsy Collins,
Boredoms,
Traffic Nightmare,
Bang on a Can All-Stars,
Morten Harket,
Loose Ends,
Thompson Twins,
Liaisons Dangereuses,
Ornette Coleman,
The Remains,
The Mighty Diamonds,
The Star Department,
Hashim,
Rahsaan Roland Kirk,
Pete Rock & C.L. Smooth,
Grandmaster Flash,
Tomorrow,
Lou Christie,
Jacques Brel,
Ralphi Rosario,
The Wake,
Kerri Chandler,
Soulsonic Force,
Siglo XX,
Henry Cow,
Red Lorry Yellow Lorry,
Nick Fraelich,
Joey Negro,
Royal Trux,
Slick Rick,
Wally Richardson,
Andrew Hill,
Ice-T,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.