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 Spain and from Edmonton.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1969 to 1975.
I'm losing my edge.
To all the kids in Halifax and Salvador.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the linndrum 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 Ronan to the techno kids.
I played it at the Troubador.
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 Captain Beefheart & His Magic Band. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Bronski Beat,
the Fania All-Stars,
Pantytec,
The Smiths,
the Germs,
Hot Snakes,
Matthew Bourne,
Man Eating Sloth,
Ornette Coleman,
Bobby Sherman,
Nick Fraelich,
Clear Light,
Mission of Burma,
Scion,
the Bar-Kays,
Jeff Lynne,
Babytalk,
Franke,
The Dave Clark Five,
Kango’s Stein Massive,
Tommy Roe,
Main Source,
Oppenheimer Analysis,
X-102,
Nas,
X-101,
Nik Kershaw,
Sam Rivers,
Alison Limerick,
The Electric Prunes,
Royal Trux,
Tropical Tobacco,
Sparks,
Pete Rock & C.L. Smooth,
KRS-One,
Max Romeo,
Marc Almond,
The Busters,
Soul Sonic Force,
Bad Manners,
John Coltrane,
Tomorrow,
Massinfluence,
Lyres,
Oblivians,
Chrome,
Grandmaster Flash,
Junior Murvin,
Qualms,
Urselle,
Quando Quango,
Funkadelic,
Maleditus Sound,
Kenny Larkin,
Little Man,
Josef K,
James Chance & The Contortions,
Robert Wyatt,
The Zeros,
Japan,
The Seeds,
Anthony Braxton,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.