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 Rwanda and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television 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 1966 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Bologna.
I'm losing my edge to the art-school Hong Kong 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 Michael McDonald 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 Sister Nancy to the punk kids.
I played it at the Spitz.
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 Maleditus Sound. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Joy Division 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?
These Immortal Souls,
Accadde A,
Radiohead,
The Human League,
The Buckinghams,
Visage,
B.T. Express,
Lou Reed & Metallica,
ABBA,
Ralphi Rosario,
Joyce Sims,
Maleditus Sound,
Wasted Youth,
Larry & the Blue Notes,
Lalo Schifrin,
The Real Kids,
Sly & The Family Stone,
The United States of America,
Con Funk Shun,
FM Einheit,
Deepchord,
Can,
Scientists,
Maurizio,
Pussy Galore,
Popol Vuh,
The Dead C,
Rapeman,
Patti Smith,
Reuben Wilson,
L. Decosne,
Public Enemy,
Todd Rundgren,
Monks,
Marshall Jefferson,
Gil Scott-Heron & Brian Jackson,
The Flesh Eaters,
Avey Tare's Slasher Flicks,
Juan Atkins,
Prince Buster,
the Slits,
Eve St. Jones,
Gong,
Pere Ubu,
The West Coast Pop Art Experimental Band,
Todd Terry,
Smog,
Rufus Thomas,
The American Breed,
Althea and Donna,
the Germs,
Pantytec,
Scott Walker + Sunn O))),
Trumans Water,
Gregory Isaacs,
Ice-T,
Gang of Four,
James Chance & The Contortions,
The Index,
Pierre Henry,
The Star Department,
The Last Poets,
The Martian, The Martian, The Martian, The Martian.
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.