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 Lesotho and from Milan.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Milan and New York.
I'm losing my edge to the art-school Copenhagen 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 organ 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 Maleditus Sound to the crunk 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 Mars. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
The Litter,
AZ,
The Cosmic Jokers,
the Bar-Kays,
Kings Of Tomorrow,
Negative Approach,
Lou Reed & John Cale,
Masters at Work,
JFA,
Teenage Jesus and the Jerks,
Drexciya,
These Immortal Souls,
The Doobie Brothers,
The Barracudas,
Eyeless In Gaza,
David Axelrod,
Half Japanese,
Mantronix,
Lee Hazlewood,
Simply Red,
Scientists,
The Wake,
Letta Mbulu,
Peter and Kerry,
Yaz,
The Gladiators,
The Saints,
Stiv Bators,
Kaleidoscope,
Susan Cadogan,
Barbara Tucker,
Icehouse,
Tears for Fears,
The Detroit Cobras,
Intrusion,
Ash Ra Tempel,
The Gap Band,
Kevin Saunderson,
ABBA,
MDC,
H. Thieme,
Kayak,
Thinking Fellers Union Local 282,
Neu!,
Talk Talk,
Kas Product,
The Mighty Diamonds,
The Doors,
10cc,
Liliput,
Eric Copeland,
Avey Tare,
Fort Wilson Riot,
Country Teasers,
Gastr Del Sol,
Section 25,
Johnny Osbourne,
Wire, Wire, Wire, Wire.
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.