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 Spokane.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Salvador and Manchester.
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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Marc Romboy vs. Booka Shade to the jazz 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 The Happenings. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Tres Demented 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 '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Mars 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?
Symarip,
Grauzone,
Robert Hood,
Matthew Halsall,
Delta 5,
Beasts of Bourbon,
Sound Behaviour,
John Holt,
Quando Quango,
Suicide,
Kango’s Stein Massive,
Shuggie Otis,
Dawn Penn,
The Gap Band,
Mission of Burma,
Fat Boys,
Masters at Work,
Roxette,
Trumans Water,
Anthony Braxton,
Mars,
Altered Images,
Ultravox,
Sam Rivers,
The Litter,
Max Romeo,
Bob Dylan,
Johnny Osbourne,
Terror Squad Feat. Camron,
Funkadelic,
Sun Ra,
Stockholm Monsters,
Procol Harum,
Crispian St. Peters,
Radiopuhelimet,
Bauhaus,
Lizzy Mercier Descloux,
The Index,
Barclay James Harvest,
Rufus Thomas,
Jerry's Kids,
Mandrill,
Archie Shepp,
The Doobie Brothers,
Piero Umiliani,
Circle Jerks,
Electric Light Orchestra,
Pet Shop Boys,
Ultra Naté,
Dennis Brown,
Gary Puckett & The Union Gap,
Soulsonic Force,
The West Coast Pop Art Experimental Band,
Moby Grape,
Slave,
Chris & Cosey,
The Move,
June Days,
The Selecter,
David McCallum,
Lou Christie,
Juan Atkins,
Black Flag,
Grandmaster Flash,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.