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 Congo and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Manila and Tehran.
I'm losing my edge to the art-school Bremen 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 güiro 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 Qualms to the grunge kids.
I played it at the Roxy.
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 Television. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Archie Shepp 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 '80s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Brothers Johnson,
Television,
kango's stein massive,
Althea and Donna,
The Detroit Cobras,
Frankie Knuckles,
Rowland S Howard / Lydia Lunch,
The Star Department,
Jeru the Damaja,
Gabor Szabo,
Black Flag,
Brass Construction,
The Motions,
Nirvana,
The Move,
MDC,
Lebanon Hanover,
Ten City,
The Offenders,
The Pop Group,
Desert Stars,
Barbara Tucker,
Rotary Connection,
Ludus,
Shoche,
Amon Düül II,
Saccharine Trust,
Graham Central Station,
Bluetip,
Nick Fraelich,
Charles Mingus,
Underground Resistance,
Robert Görl,
Con Funk Shun,
Wally Richardson,
Camberwell Now,
Judy Mowatt,
David Axelrod,
Eric B and Rakim,
Vaughan Mason & Crew,
Lucky Dragons,
Marc Romboy vs. Booka Shade,
Rosa Yemen,
Section 25,
Kenny Larkin,
Warsaw,
Captain Beefheart & His Magic Band,
Orchestral Manoeuvres in the Dark,
Anakelly,
Soulsonic Force,
F. McDonald,
T. Rex,
Cybotron,
Skaos,
Fatback Band,
Todd Rundgren,
Monks,
Bang On A Can,
Skarface,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.