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 Fiji and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Toronto and Toronto.
I'm losing my edge to the art-school Salvador 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 harpsichord 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 Roxy Music to the funk kids.
I played it at the Astoria.
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 Black Dice. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Matthew Bourne 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 '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Model 500,
The Victims,
Todd Terry,
Radio Birdman,
The Mummies,
Liaisons Dangereuses,
Jandek,
Connie Case,
Tres Demented,
Ice-T,
The Searchers,
Crime,
Dennis Brown,
Neil Young & Crazy Horse,
Ash Ra Tempel,
EPMD,
Crooked Eye,
Moby Grape,
Kerri Chandler,
T. Rex,
Isaac Hayes,
the Bar-Kays,
Piero Umiliani,
Joe Finger,
Judy Mowatt,
The Music Machine,
Mad Mike,
Visage,
Ronnie Foster,
John Holt,
Guru Guru,
Grey Daturas,
Eden Ahbez,
Tubeway Army,
Charles Mingus,
Basic Channel,
Anthony Braxton,
La Düsseldorf,
The Blues Magoos,
Vaughan Mason & Crew,
The Men They Couldn't Hang,
Spoonie Gee,
Animal Collective,
Larry & the Blue Notes,
Duran Duran,
Jacques Brel,
the Sonics,
Suburban Knight,
Funky Four + One,
Yazoo,
The Last Poets,
Lungfish,
David Axelrod,
Soulsonic Force,
Robert Wyatt,
The Pretty Things,
Reagan Youth,
Malaria!,
Black Sheep,
Laurel Aitken,
Minny Pops,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.