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 Suriname and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Seoul.
I'm losing my edge to the art-school Houston 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 synthesizer 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 Amazonics 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 The Evens. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal rap 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Harry Pussy,
Howard Jones,
X-102,
Main Source,
A Flock of Seagulls,
Davy DMX,
Drexciya,
Rhythm & Sound,
Faraquet,
Avey Tare & Kría Brekkan,
Jerry Gold Smith,
Surgeon,
Supertramp,
Thee Headcoats,
Juan Atkins,
Erasure,
Roy Ayers,
Brand Nubian,
Man Eating Sloth,
The Motions,
Young Marble Giants,
DJ Sneak,
Animal Collective,
Fort Wilson Riot,
Frankie Knuckles,
John Foxx,
Ponytail,
Negative Approach,
10cc,
Rod Modell,
Rhythim Is Rhythim,
Model 500,
Q65,
The Detroit Cobras,
Ronnie Foster,
Newcleus,
Delta 5,
48th St. Collective,
The Doobie Brothers,
FM Einheit,
Freddie Wadling,
David Axelrod,
The Black Dice,
Scrapy,
John Coltrane,
The Grass Roots,
Khruangbin,
The Stooges,
The Move,
Marc Romboy vs. Booka Shade,
Bootsy's Rubber Band,
Clear Light,
Easy Going,
The Music Machine,
Underground Resistance,
Harmonia,
Siouxsie and the Banshees,
Deadbeat,
Section 25,
Parry Music,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.