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 El Salvador and from Copenhagen.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Cairo.
I'm losing my edge to the art-school Toronto 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the theremin 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 Rhythm & Sound to the grime 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 Bang On A Can. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Procol Harum,
Sonny Sharrock,
Theoretical Girls,
Magazine,
Section 25,
Severed Heads,
Liliput,
Q65,
James Chance & The Contortions,
Joey Negro,
New Age Steppers,
Steve Hackett,
Eric Dolphy,
the Normal,
Gichy Dan,
R.M.O.,
Rod Modell,
Mad Mike,
Scan 7,
Accadde A,
Ultra Naté,
Main Source,
Quantec,
Darondo,
Oblivians,
Manfred Mann's Earth Band,
Angels of Light & Akron/Family,
Radiohead,
Sex Pistols,
The Black Dice,
Brand Nubian,
Amon Düül,
Deadbeat,
Hardrive,
ABC,
CMW,
T.S.O.L.,
Talk Talk,
Glambeats Corp.,
Minnie Riperton,
Mark Hollis,
Pierre Henry,
Lyres,
Cabaret Voltaire,
Eve St. Jones,
Peter and Kerry,
Parry Music,
Grauzone,
Bizarre Inc.,
Rotary Connection,
Monolake,
Maurizio,
Flamin' Groovies,
World's Most,
Au Pairs,
Pulsallama,
Brass Construction,
Eric B and Rakim,
Gang Starr,
Gang Green,
The Index, The Index, The Index, The Index.
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.