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 Ghana and from Accra.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Toronto and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 linndrum 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 Johnny Osbourne to the disco 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 Barbara Tucker. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Bush Tetras 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 '80s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Symarip,
Technova,
DJ Sneak,
Agent Orange,
Absolute Body Control,
The Alarm Clocks,
Maleditus Sound,
Todd Rundgren,
Neu!,
Country Teasers,
Kas Product,
Avey Tare & Kría Brekkan,
Sex Pistols,
U.S. Maple,
Minnie Riperton,
The Vogues,
Neil Young & Crazy Horse,
Pulsallama,
Chrome,
John Holt,
Graham Central Station,
The Smiths,
Pierre Henry,
Major Organ And The Adding Machine,
The Dead C,
Lonnie Liston Smith,
Saccharine Trust,
Juan Atkins,
Sad Lovers and Giants,
Jawbox,
Anakelly,
Blossom Toes,
Godley & Creme,
Trumans Water,
Alison Limerick,
Don Cherry,
Silicon Teens,
Smog,
H. Thieme,
Spandau Ballet,
Arab on Radar,
The Index,
The Moody Blues,
Peter Gordon & Love of Life Orchestra,
Robert Hood,
The Last Poets,
Maurizio,
The Mummies,
Marcia Griffiths,
Reuben Wilson,
Sly & The Family Stone,
Freddie Wadling,
Con Funk Shun,
David McCallum,
Ice-T,
Eli Mardock,
Monolake,
Prince Buster,
Arcadia,
AZ,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.