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 Guinea-Bissau and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1961 to 1976.
I'm losing my edge.
To all the kids in New York and Philadelphia.
I'm losing my edge to the art-school Milan 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 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 Public Enemy to the crunk 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 the Association. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Gang Green record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gang Gang Dance record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
One Last Wish,
X-102,
The Sound,
Leonard Cohen,
Jandek,
Pantaleimon,
Sexual Harrassment,
Hasil Adkins,
Absolute Body Control,
The Gap Band,
Japan,
Avey Tare's Slasher Flicks,
Minor Threat,
The Smiths,
La Düsseldorf,
China Crisis,
Rufus Thomas,
The Velvet Underground,
The Seeds,
the Bar-Kays,
The Misunderstood,
Andrew Hill,
Graham Central Station,
Throbbing Gristle,
Scott Walker + Sunn O))),
Eyeless In Gaza,
the Swans,
James White and The Blacks,
Röyhkä ja Rättö ja Lehtisalo,
Agent Orange,
Rites of Spring,
kango's stein massive,
Slave,
Dorothy Ashby,
The Moody Blues,
Essential Logic,
The Knickerbockers,
Bill Wells,
Young Marble Giants,
Chrome,
Cheater Slicks,
Peter Gordon & Love of Life Orchestra,
Franke,
Simply Red,
Subhumans,
Lou Reed,
The Sonics,
Mars,
Mo-Dettes,
The Selecter,
Icehouse,
Kurtis Blow,
The Count Five,
David Axelrod,
Glenn Branca,
Nick Fraelich,
Metal Thangz,
Al Stewart,
Roger Hodgson,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.