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 Comoros and from Manila.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Edmonton 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Albert Ayler to the disco kids.
I played it at Cafe Wha.
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 These Immortal Souls. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Radio Birdman 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 '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf 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?
Joe Finger,
Sällskapet,
Circle Jerks,
Easy Going,
Nik Kershaw,
Manfred Mann's Earth Band,
Scott Walker,
Marc Romboy vs. Booka Shade,
Cabaret Voltaire,
The Count Five,
Pantaleimon,
Whodini,
Bluetip,
Tubeway Army,
Dr. Dre and Snoop Doggy Dog,
Liaisons Dangereuses,
Kauko Röyhkä ja Narttu,
Richard Hell and the Voidoids,
The Modern Lovers,
Judy Mowatt,
the Soft Cell,
James White and The Blacks,
Lightning Bolt,
Suicide,
Archie Shepp,
Man Eating Sloth,
Loose Ends,
Theoretical Girls,
Henry Cow,
Tom Boy,
Ultra Naté,
Tim Buckley,
Los Fastidios,
Harpers Bizarre,
Unrelated Segments,
Funkadelic,
Stetsasonic,
The Real Kids,
Country Joe & The Fish,
Hardrive,
MC5,
Crime,
Nas,
K-Klass,
Second Layer,
The Sonics,
The Move,
Lebanon Hanover,
Carl Craig,
New York Dolls,
These Immortal Souls,
The Blackbyrds,
the Bar-Kays,
Essential Logic,
Quadrant,
Zapp,
Jesper Dahlbäck,
the Germs,
Anthony Braxton,
Harry Pussy,
Bobby Byrd,
Terry Callier,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.