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 Sudan and from Sao Paulo.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Winnipeg.
I'm losing my edge to the art-school Taipei 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator 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 Bobby Womack to the disco kids.
I played it at the Hacienda.
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 Harry Pussy. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Kayak record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
The Associates,
Sugar Minott,
Drexciya,
The United States of America,
Unrelated Segments,
Bobby Byrd,
James Chance & The Contortions,
The Move,
Wolf Eyes,
Scion,
It's A Beautiful Day,
Essential Logic,
Gil Scott-Heron & Brian Jackson,
Unwound,
Lower 48,
Qualms,
Monks,
The Skatalites,
The Golliwogs,
Subhumans,
Idris Muhammad,
Michelle Simonal,
Goldenarms,
Fela Kuti,
Roy Ayers Ubiquity,
Dual Sessions,
Slave,
Crime,
Bronski Beat,
Nik Kershaw,
Section 25,
Reagan Youth,
The Evens,
Junior Murvin,
Lightning Bolt,
The Moody Blues,
Black Bananas,
The Grass Roots,
Interpol,
Jeff Mills,
Connie Case,
Slick Rick,
New Age Steppers,
Mary Jane Girls,
Inner City,
Big Daddy Kane,
Gastr Del Sol,
the Slits,
Major Organ And The Adding Machine,
Andrew Ashong & Theo Parrish,
Iggy Pop,
Rhythm & Sound,
The Litter,
Rufus Thomas,
Rites of Spring,
The Red Krayola,
Roy Ayers,
Drive Like Jehu,
Sun Ra Arkestra,
Juan Atkins,
Urselle,
ABC, ABC, ABC, ABC.
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.