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 Burundi and from New York.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 Bologna and Salvador.
I'm losing my edge to the art-school Winnipeg 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 mellotron 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 The Toasters to the rap 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 Swell Maps. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every CMW record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Altered Images,
Electric Light Orchestra,
Ultramagnetic MC's,
Con Funk Shun,
Erykah Badu,
Lungfish,
Ponytail,
Public Enemy,
Sunsets and Hearts,
Sound Behaviour,
The Motions,
Public Image Ltd.,
Todd Terry,
The Kinks,
The Names,
The J.B.'s,
Spandau Ballet,
Procol Harum,
Ultravox,
Masters at Work,
Soft Cell,
Chrome,
The West Coast Pop Art Experimental Band,
The Selecter,
June Days,
Cybotron,
Country Joe & The Fish,
Joy Division,
Eric B and Rakim,
Max Romeo,
The Remains,
Robert Hood,
Desert Stars,
Nik Kershaw,
Bill Wells,
Groovy Waters,
Crooked Eye,
Patti Smith,
James Chance & The Contortions,
Robert Wyatt,
Throbbing Gristle,
Rites of Spring,
The Smiths,
Girls At Our Best!,
The Skatalites,
Inner City,
Fugazi,
Andrew Hill,
Crispian St. Peters,
Ossler,
Sex Pistols,
Can,
Radiohead,
Kevin Saunderson,
Joe Finger,
The Doobie Brothers,
Todd Rundgren,
New York Dolls,
Television Personalities,
Bluetip, Bluetip, Bluetip, Bluetip.
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.