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 Eritrea and from Beijing.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Lille.
I'm losing my edge to the art-school Mumbai 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 Captain Beefheart 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 Kurtis Blow to the rock 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 Red Lorry Yellow Lorry. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Tomorrow,
Minnie Riperton,
Manfred Mann's Earth Band,
The Leaves,
The Techniques,
Massinfluence,
Neil Young & Crazy Horse,
The Divine Comedy,
Kool Moe Dee,
Barrington Levy,
Bobby Sherman,
Boredoms,
Kaleidoscope,
New Order,
Monolake,
The Moleskins,
KRS-One,
Alison Limerick,
The Busters,
Ultravox,
Bauhaus,
Theoretical Girls,
Marine Girls,
Selector Dub Narcotic,
This Heat,
Colin Newman,
David McCallum,
The Five Americans,
Dorothy Ashby,
Drive Like Jehu,
Boogie Down Productions,
Cabaret Voltaire,
In Retrospect,
Stetsasonic,
Grandmaster Flash and the Furious Five,
Eurythmics,
Max Romeo,
London Community Gospel Choir,
Swans,
Todd Terry,
Eric B and Rakim,
Chris & Cosey,
Bobbi Humphrey,
The Red Krayola,
Cecil Taylor,
Gil Scott Heron,
The Wake,
The Dead C,
Jandek,
Frankie Knuckles,
Minny Pops,
Cybotron,
X-101,
Young Marble Giants,
Groovy Waters,
Sam Rivers,
Crispy Ambulance,
Dawn Penn,
Sister Nancy,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.