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 Bahrain and from Woodstock.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1977.
I'm losing my edge.
To all the kids in Tokyo and Hong Kong.
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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Vaughan Mason & Crew to the rap kids.
I played it at Trash.
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 Gerry Rafferty. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every UT 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 güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
Ponytail,
Louis and Bebe Barron,
Reuben Wilson,
La Düsseldorf,
Underground Resistance,
Lungfish,
The Velvet Underground,
Lucky Dragons,
Kings Of Tomorrow,
Stiv Bators,
Eyeless In Gaza,
Brass Construction,
The Residents,
Wighnomy Brothers & Robag Wruhme,
Crime,
Pulsallama,
Jeff Mills,
Sandy B,
Black Sheep,
Make Up,
Thompson Twins,
Nation of Ulysses,
Wasted Youth,
the Fania All-Stars,
It's A Beautiful Day,
E-Dancer,
Newcleus,
Agitation Free,
Massinfluence,
Scientists,
Marc Romboy vs. Booka Shade,
Tom Boy,
Ituana,
Icehouse,
Deakin,
Andrew Ashong & Theo Parrish,
Aswad,
Gichy Dan,
Ultra Naté,
The Victims,
Grandmaster Flash,
Donald Byrd,
Fort Wilson Riot,
Lebanon Hanover,
Marshall Jefferson,
Crispy Ambulance,
Spoonie Gee,
Howard Jones,
Young Marble Giants,
Derrick Morgan,
Nico,
K-Klass,
Rapeman,
Average White Band,
Jacob Miller,
James Chance & The Contortions,
Pantytec,
The Beau Brummels,
Blossom Toes,
The Fuzztones,
Porter Ricks,
Anakelly, Anakelly, Anakelly, Anakelly.
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.