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 Georgia and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
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 arpeggiator 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 Scratch Acid 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 Alison Limerick. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Peter and Kerry,
Joyce Sims,
Wire,
Darondo,
Eurythmics,
Johnny Clarke,
Funky Four + One,
Minny Pops,
The Fuzztones,
The Victims,
Subhumans,
Siglo XX,
Bobby Byrd,
Negative Approach,
Camron Feat. Jay Z And Juelz,
Suburban Knight,
Kerrie Biddell,
Sixth Finger,
Moss Icon,
Sun Ra Arkestra,
Chris Corsano,
Sister Nancy,
Icehouse,
The Happenings,
Bobby Sherman,
Liaisons Dangereuses,
Bill Wells,
Banda Bassotti,
The Beau Brummels,
Bauhaus,
D'Angelo,
Curtis Mayfield,
Bobby Hutcherson,
The Shadows of Knight,
Cheater Slicks,
Ralphi Rosario,
Albert Ayler,
The Grass Roots,
Tropical Tobacco,
The Gladiators,
Cameo,
a-ha,
Big Daddy Kane,
Tim Buckley,
X-102,
Pierre Henry,
It's A Beautiful Day,
Todd Rundgren,
The Searchers,
The Leaves,
Ajijia Myrayebe,
Jeff Lynne,
Terry Callier,
Scientists,
the Human League,
Excepter,
Jacques Brel,
Avey Tare's Slasher Flicks,
Sonny Sharrock,
The Doors,
Kevin Saunderson,
Mission of Burma,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.