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 Guinea-Bissau and from Lille.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Manchester and Halifax.
I'm losing my edge to the art-school Milan 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 spring reverb 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 Sly & The Family Stone to the grime 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 Black Flag. All the underground hits.
All Wings tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The New Christs record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Jeff Lynne,
Deakin,
Jerry's Kids,
Con Funk Shun,
Eurythmics,
The Detroit Cobras,
Icehouse,
Arcadia,
Thinking Fellers Union Local 282,
Jacob Miller,
Lonnie Liston Smith,
Fad Gadget,
Hot Snakes,
Laurel Aitken,
Young Marble Giants,
Radio Birdman,
Bang On A Can,
Mission of Burma,
Soulsonic Force,
New York Dolls,
Second Layer,
Girls At Our Best!,
Chris Corsano,
Gang Gang Dance,
The Five Americans,
Sexual Harrassment,
K-Klass,
Radiopuhelimet,
Jesper Dahlback,
Brass Construction,
Kenny Larkin,
Sonic Youth,
Fear,
Amon Düül,
Basic Channel,
Carl Craig,
Unwound,
Can,
Marmalade,
Donald Byrd,
Parry Music,
The Beau Brummels,
Quantec,
Gil Scott Heron,
D'Angelo,
June of 44,
Glenn Branca,
Kango’s Stein Massive,
Hashim,
Sun Ra,
De La Soul & Jungle Brothers,
Soft Cell,
Mary Jane Girls,
The Neon Judgement,
Prince Buster,
These Immortal Souls,
Trumans Water,
The Durutti Column,
Mantronix,
Faust,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.