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 Papua New Guinea and from Taipei.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Tokyo.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron 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 Eve St. Jones to the disco 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 Vaughan Mason & Crew. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every the Bar-Kays 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Albert Ayler,
Lyres,
Tres Demented,
The Gap Band,
cv313,
Mars,
The Doors,
Subhumans,
Roxette,
Jandek,
Soulsonic Force,
The Knickerbockers,
The Smoke,
Cameo,
Ajijia Myrayebe,
Organ,
Kings Of Tomorrow,
Moss Icon,
Jesper Dahlback,
Popol Vuh,
Barclay James Harvest,
Red Lorry Yellow Lorry,
Make Up,
John Lydon,
Notorious Big And Bone Thugs,
Dennis Brown,
Blossom Toes,
Rhythim Is Rhythim,
Hardrive,
The Saints,
DJ Style,
Silicon Teens,
Fatback Band,
The Sonics,
The West Coast Pop Art Experimental Band,
Lou Christie,
the Fania All-Stars,
Grandmaster Flash and the Furious Five,
Big Daddy Kane,
Amon Düül,
Frankie Knuckles,
R.M.O.,
Jacques Brel,
Bill Near,
The Sisters of Mercy,
Amazonics,
The Mojo Men,
Gil Scott-Heron & Brian Jackson,
Japan,
Soul II Soul,
The Red Krayola,
CMW,
Rapeman,
Piero Umiliani,
Tomorrow,
Urselle,
Lightning Bolt,
Minnie Riperton,
Byron Stingily,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.