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 Manila.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Lagos and Edmonton.
I'm losing my edge to the art-school Cairo 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Scott Walker to the techno kids.
I played it at the Hacienda.
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 Clear Light. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Heaven 17 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
Bang On A Can,
John Lydon,
The Busters,
Lebanon Hanover,
New York Dolls,
Andrew Hill,
The Smoke,
Tres Demented,
The Five Americans,
Crime,
Sandy B,
Cybotron,
Aaron Thompson,
Gong,
Saccharine Trust,
Heaven 17,
Eli Mardock,
The Monochrome Set,
Motorama,
Model 500,
The Cramps,
Bill Near,
Black Sheep,
Warren Ellis,
Marc Romboy vs. Booka Shade,
Youth Brigade,
Wire,
Whodini,
Harmonia,
Fatback Band,
Bobbi Humphrey,
The Black Dice,
B.T. Express,
R.M.O.,
Gary Puckett & The Union Gap,
Bush Tetras,
Carl Craig,
Neu!,
Chrome,
Suburban Knight,
Patti Smith,
Lindisfarne,
Donald Byrd,
Spandau Ballet,
A Certain Ratio,
Kaleidoscope,
Ornette Coleman,
Sly & The Family Stone,
Danielle Patucci,
Dark Day,
Gastr Del Sol,
UT,
Selector Dub Narcotic,
Qualms,
Erasure,
Pantaleimon,
The Music Machine,
Public Enemy,
Amazonics,
Graham Central Station,
Drexciya,
Connie Case,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.