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 Japan and from Portland.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Avey Tare's Slasher Flicks to the jazz 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 Sonny Sharrock. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Saccharine Trust 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Rufus Thomas,
The Beau Brummels,
Gang Gang Dance,
Mars,
Robert Wyatt,
The Shadows of Knight,
The Slits,
Amon Düül,
Severed Heads,
Rosa Yemen,
Rapeman,
Leonard Cohen,
Neu!,
Amazonics,
The Mighty Diamonds,
Scott Walker,
Joyce Sims,
Stereo Dub,
David Axelrod,
Cybotron,
Mandrill,
Monolake,
Todd Rundgren,
Jeru the Damaja,
Gerry Rafferty,
Howard Jones,
Sam Rivers,
The Sound,
Sister Nancy,
Marine Girls,
Scratch Acid,
Maleditus Sound,
Throbbing Gristle,
Public Enemy,
Fort Wilson Riot,
Soft Cell,
The Music Machine,
Metal Thangz,
Lalo Schifrin,
Albert Ayler,
Tres Demented,
48th St. Collective,
Depeche Mode,
Johnny Osbourne,
The Fuzztones,
Eddi Front,
The Jesus and Mary Chain,
Derrick May,
Public Image Ltd.,
Red Lorry Yellow Lorry,
Blancmange,
Technova,
Peter Gordon & Love of Life Orchestra,
Fatback Band,
Thee Headcoats,
The Royal Family And The Poor,
Alice Coltrane,
Mad Mike,
Bronski Beat,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.