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 Korea North and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Lille and Taipei.
I'm losing my edge to the art-school Bologna 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 arpeggiator 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 Pharoah Sanders to the punk kids.
I played it at the Astoria.
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 Sixth Finger. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Litter,
Oblivians,
Todd Rundgren,
the Bar-Kays,
Freddie Wadling,
Sonic Youth,
Terry Callier,
The Durutti Column,
Nas,
Public Image Ltd.,
Prince Buster,
The Remains,
Siglo XX,
The Smoke,
Dead Boys,
Danielle Patucci,
Technova,
Eve St. Jones,
Sugar Minott,
Rites of Spring,
The Seeds,
Michelle Simonal,
Kool G Rap & DJ Polo,
Scion,
Stetsasonic,
Kool Moe Dee,
JFA,
Joey Negro,
Sparks,
David Axelrod,
Ludus,
Goldenarms,
DJ Style,
Susan Cadogan,
Kango’s Stein Massive,
Boz Scaggs,
Section 25,
Skriet,
Sticky Fingaz feat. Raekwon,
Faust,
Hashim,
The New Christs,
Pole,
Crispy Ambulance,
Eric Dolphy,
B.T. Express,
Circle Jerks,
T.S.O.L.,
Lungfish,
Peter and Kerry,
New York Dolls,
The Five Americans,
K-Klass,
Aural Exciters,
Reagan Youth,
Minutemen,
ABBA,
Masters at Work,
Chris & Cosey,
Pharoah Sanders,
Mark Hollis,
Sarah Menescal,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.