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 Norway and from Stockholm.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Woodstock.
I'm losing my edge to the art-school Johannesburg 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 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 Heavy D & The Boyz to the crunk kids.
I played it at CBGB's.
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 Interpol. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every The Fugs 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Joyce Sims,
Man Parrish,
Derrick May,
The Standells,
cv313,
ABC,
H. Thieme,
Connie Case,
Organ,
Althea and Donna,
Electric Light Orchestra,
The Motions,
the Human League,
Outsiders,
Boredoms,
Barclay James Harvest,
Black Moon,
Joe Smooth,
The Stooges,
Richard Hell and the Voidoids,
The Buckinghams,
Sunsets and Hearts,
The United States of America,
Junior Murvin,
Fela Kuti,
Deepchord,
The Slits,
X-Ray Spex,
Bob Dylan,
Monks,
Intrusion,
L. Decosne,
Crispy Ambulance,
Ultravox,
Rekid,
Bluetip,
DeepChord presents Echospace,
Chris Corsano,
LL Cool J,
Graham Central Station,
Vainqueur,
The Last Poets,
Tropical Tobacco,
The Victims,
Dennis Brown,
The Fugs,
Freddie Wadling,
John Lydon,
Negative Approach,
Kauko Röyhkä ja Narttu,
Roy Ayers,
Pylon,
World's Most,
The Peanut Butter Conspiracy,
Marc Romboy vs. Booka Shade,
Jimmy McGriff,
Pharaoh Sanders and the Fire Engines,
Nick Fraelich,
Oneida,
Ultimate Spinach,
Grandmaster Flash,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.