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 Tonga and from Taipei.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Paris and Milan.
I'm losing my edge to the art-school Lyon 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Moby Grape to the disco kids.
I played it at Trash.
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 Alison Limerick. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Oblivians 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
James Chance & The Contortions,
Louis and Bebe Barron,
Arthur Verocai,
Black Moon,
Black Flag,
Big Daddy Kane,
Agent Orange,
New Age Steppers,
Index,
The Cure,
Scott Walker,
Spoonie Gee,
The Barracudas,
Todd Rundgren,
In Retrospect,
R.M.O.,
Boogie Down Productions,
Freddie Wadling,
Eve St. Jones,
Yusef Lateef,
The Motions,
a-ha,
The Leaves,
Dead Boys,
Alice Coltrane,
Easy Going,
The Peanut Butter Conspiracy,
Infiniti,
The Cosmic Jokers,
Orchestral Manoeuvres in the Dark,
June of 44,
Crispian St. Peters,
Mark Hollis,
The Fire Engines,
Qualms,
Livin' Joy,
Nas,
Todd Terry,
Fela Kuti,
Charles Mingus,
Subhumans,
The Fall,
Tears for Fears,
Johnny Clarke,
The Residents,
Adolescents,
Stockholm Monsters,
Shoche,
Lonnie Liston Smith,
Fatback Band,
Marine Girls,
Stetsasonic,
The Star Department,
Animal Collective,
Terror Squad Feat. Camron,
Niagra,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Pretty Things,
The Dirtbombs,
OOIOO, OOIOO, OOIOO, OOIOO.
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.