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 Denmark and from New York.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Halifax and Glasgow.
I'm losing my edge to the art-school Portland 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Schoolly D to the dance kids.
I played it at the Astoria.
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 Bootsy's Rubber Band. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Animal Collective 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Sonics record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Yazoo,
E-Dancer,
The Fall,
Avey Tare,
Echo & the Bunnymen,
Cabaret Voltaire,
Skaos,
Kauko Röyhkä ja Narttu,
Porter Ricks,
Drive Like Jehu,
The Royal Family And The Poor,
Barbara Tucker,
Kas Product,
The Raincoats,
Mark Hollis,
The Beau Brummels,
The Flesh Eaters,
Altered Images,
Deepchord,
Easy Going,
Tubeway Army,
Joyce Sims,
Fugazi,
Symarip,
Maurizio,
ABC,
Juan Atkins,
Jacob Miller,
Robert Hood,
Rapeman,
The Smiths,
Fatback Band,
Liliput,
David McCallum,
the Normal,
Steve Hackett,
Funkadelic,
Yusef Lateef,
Camouflage,
ABBA,
Brass Construction,
Make Up,
Eric Dolphy,
Gil Scott Heron,
Scratch Acid,
The Leaves,
The Golliwogs,
a-ha,
Nick Fraelich,
Los Fastidios,
Radiohead,
Liaisons Dangereuses,
DJ Sneak,
Adolescents,
Radiopuhelimet,
Ash Ra Tempel,
Sad Lovers and Giants,
Fat Boys,
Gabor Szabo,
The Shadows of Knight,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.