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 Tuvalu and from Copenhagen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Houston and Sao Paulo.
I'm losing my edge to the art-school Lille 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Joy Division 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 Cybotron. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Letta Mbulu record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fatback Band,
Gastr Del Sol,
Lonnie Liston Smith,
Public Image Ltd.,
Nik Kershaw,
The Techniques,
Delon & Dalcan,
Piero Umiliani,
Deakin,
Silicon Teens,
Matthew Bourne,
Simply Red,
Black Sheep,
The Index,
the Swans,
The Raincoats,
Tears for Fears,
Saccharine Trust,
The Smoke,
The Misunderstood,
Faust,
Captain Beefheart & His Magic Band,
Zero Boys,
X-Ray Spex,
Pagans,
cv313,
Barry Ungar,
Byron Stingily,
The Royal Family And The Poor,
Rites of Spring,
Pere Ubu,
Joyce Sims,
Make Up,
Angry Samoans,
The Move,
Big Daddy Kane,
Rosa Yemen,
Barbara Tucker,
Flipper,
The Mummies,
Franke,
Warsaw,
Freddie Wadling,
The Dirtbombs,
The Count Five,
Electric Light Orchestra,
Barrington Levy,
Public Enemy,
Urselle,
Swell Maps,
Darondo,
Moebius,
Andrew Hill,
Magma,
The New Christs,
Subhumans,
De La Soul & Jungle Brothers,
Ohio Players,
L. Decosne,
Hoover,
Liliput,
The Vogues,
Notorious BIG live in Amsterdam,
The Alarm Clocks,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.