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 Ivory Coast and from Sao Paulo.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lyon and Taipei.
I'm losing my edge to the art-school Edmonton 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the organ 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 Juan Atkins to the techno 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 Fatback Band. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every Cameo record on German import.
I heard that you have a white label of every seminal crunk 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 a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Bauhaus,
Notorious Big And Bone Thugs,
Siglo XX,
Pantytec,
D'Angelo,
Organ,
Donald Byrd,
Sunsets and Hearts,
The Leaves,
Amazonics,
The Flesh Eaters,
De La Soul & Jungle Brothers,
Echo & the Bunnymen,
the Fania All-Stars,
Jesper Dahlback,
Peter Gordon & Love of Life Orchestra,
Alice Coltrane,
Underground Resistance,
Avey Tare's Slasher Flicks,
Piero Umiliani,
The Seeds,
Agent Orange,
The Evens,
Ash Ra Tempel,
The Toasters,
Liaisons Dangereuses,
Qualms,
Quantec,
Cybotron,
Q and Not U,
The Chocolate Watch Band,
The Doobie Brothers,
John Cale,
Yaz,
Reagan Youth,
Rakim,
Drive Like Jehu,
New York Dolls,
James Chance & The Contortions,
B.T. Express,
ABC,
Bizarre Inc.,
Scan 7,
Cheater Slicks,
John Foxx,
Fad Gadget,
The Gories,
Ice-T,
Swans,
The Victims,
Fela Kuti,
Skriet,
Flipper,
Gang of Four,
Isaac Hayes,
Subhumans,
Richard Hell and the Voidoids,
The Pop Group,
Interpol,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.