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 Belize and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Toronto and Mumbai.
I'm losing my edge to the art-school New York 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 chamberlin 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 Terrestrial Tones to the funk kids.
I played it at the Roxy.
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 Gian Franco Pienzio. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
The Residents,
Rahsaan Roland Kirk,
The Buckinghams,
Saccharine Trust,
The Cure,
Isaac Hayes,
Harry Pussy,
The Zeros,
Warsaw,
Lebanon Hanover,
Man Eating Sloth,
Skriet,
David Axelrod,
Aswad,
Amazonics,
The Durutti Column,
The Blues Magoos,
It's A Beautiful Day,
Scratch Acid,
Dr. Dre and Snoop Doggy Dog,
Easy Going,
Mantronix,
Ajijia Myrayebe,
Sällskapet,
Animal Collective,
Johnny Osbourne,
Simply Red,
Ponytail,
Second Layer,
Marc Almond,
Sight & Sound,
The Monochrome Set,
One Last Wish,
Graham Central Station,
Stereo Dub,
Stetsasonic,
Agent Orange,
Subhumans,
Soft Cell,
Deutsch Amerikanische Freundschaft,
Sister Nancy,
Goldenarms,
The Peanut Butter Conspiracy,
The Barracudas,
Eric Dolphy,
Dorothy Ashby,
H. Thieme,
Black Flag,
Traffic Nightmare,
Boogie Down Productions,
Harmonia,
Theoretical Girls,
Hardrive,
Joy Division,
Y Pants,
Ten City,
The Raincoats,
Be Bop Deluxe,
The Selecter,
Kerri Chandler,
the Normal, the Normal, the Normal, the Normal.
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.