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 Congo and from Taipei.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
I'm losing my edge to the art-school Mexico City 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Underground Resistance to the disco 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 Little Man. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every The United States of America 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Patti Smith record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Lee Hazlewood,
The Mighty Diamonds,
The Monochrome Set,
Richard Hell and the Voidoids,
Make Up,
The Mojo Men,
Dark Day,
Section 25,
It's A Beautiful Day,
Fugazi,
Wire,
Symarip,
The Grass Roots,
Arab on Radar,
L. Decosne,
Howard Jones,
Country Joe & The Fish,
The Residents,
DNA,
Angry Samoans,
The West Coast Pop Art Experimental Band,
Andrew Ashong & Theo Parrish,
The Men They Couldn't Hang,
Parry Music,
Louis and Bebe Barron,
Amon Düül II,
Nik Kershaw,
The Move,
The Vogues,
Röyhkä ja Rättö ja Lehtisalo,
Ultravox,
The Evens,
Peter Gordon & Love of Life Orchestra,
Sly & The Family Stone,
The Royal Family And The Poor,
Panda Bear,
Barbara Tucker,
the Soft Cell,
JFA,
Gang Starr,
Grandmaster Flash,
Yellowson,
Letta Mbulu,
Arcadia,
Lalann,
Gian Franco Pienzio,
Liliput,
Drexciya,
Eve St. Jones,
Arthur Verocai,
Boredoms,
Motorama,
Sandy B,
Delon & Dalcan,
Bobby Byrd,
Eurythmics,
Jerry's Kids,
Outsiders,
Janne Schatter,
Pole,
Carl Craig,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.