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 Kiribati and from Spokane.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Halifax and Calgary.
I'm losing my edge to the art-school New York 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 Donald Fagen 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 Boredoms to the techno kids.
I played it at the Astoria.
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 Frankie Knuckles. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Carl Craig record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
The New Christs,
X-101,
Erasure,
Rosa Yemen,
Infiniti,
Lalann,
Bizarre Inc.,
Ponytail,
Suburban Knight,
Tres Demented,
Siouxsie and the Banshees,
Larry & the Blue Notes,
Quando Quango,
Anthony Braxton,
Easy Going,
Black Flag,
The Dead C,
Thinking Fellers Union Local 282,
Kerri Chandler,
Rapeman,
Interpol,
Eve St. Jones,
Section 25,
Sun City Girls,
Roger Hodgson,
Adolescents,
World's Most,
Maurizio,
F. McDonald,
Black Pus,
Popol Vuh,
Crash Course in Science,
48th St. Collective,
Magma,
Tom Boy,
Strawberry Alarm Clock,
This Heat,
Marc Almond,
John Coltrane,
Saccharine Trust,
Glambeats Corp.,
Drexciya,
The Beau Brummels,
Michelle Simonal,
Aural Exciters,
Ash Ra Tempel,
Gerry Rafferty,
The Selecter,
MDC,
Henry Cow,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Remains,
Technova,
Ice-T,
Joyce Sims,
Matthew Halsall,
Basic Channel,
Eric Copeland,
The Index,
Cheater Slicks,
FM Einheit, FM Einheit, FM Einheit, FM Einheit.
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.