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 Manila.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Manchester and Beijing.
I'm losing my edge to the art-school Winnipeg 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin 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 Minor Threat to the disco kids.
I played it at CBGB's.
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 Shuggie Otis. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Rapeman,
Sunsets and Hearts,
Lalo Schifrin,
Radio Birdman,
John Cale,
Altered Images,
Red Lorry Yellow Lorry,
Sun City Girls,
Stockholm Monsters,
Rowland S Howard / Lydia Lunch,
The Seeds,
Carl Craig,
The Moody Blues,
Youth Brigade,
Pantytec,
Massinfluence,
Visage,
Michelle Simonal,
Maleditus Sound,
Maurizio,
Goldenarms,
The Chocolate Watch Band,
Johnny Clarke,
Jesper Dahlbäck,
Popol Vuh,
Lyres,
Orchestral Manoeuvres in the Dark,
The Blues Magoos,
Royal Trux,
Pete Rock & C.L. Smooth,
Bauhaus,
Ten City,
Soft Cell,
Faust,
Oblivians,
Q65,
Half Japanese,
Tom Boy,
Glambeats Corp.,
Roger Hodgson,
Stiv Bators,
Avey Tare's Slasher Flicks,
Sun Ra Arkestra,
Davy DMX,
The Move,
Crash Course in Science,
Spoonie Gee,
DeepChord presents Echospace,
Robert Görl,
Super Lover Cee & Casanova Rud,
Mr. Review,
Junior Murvin,
Albert Ayler,
Banda Bassotti,
Yusef Lateef,
Arab on Radar,
Strawberry Alarm Clock,
The Grass Roots,
Selector Dub Narcotic,
Rhythm & Sound,
UT,
Andrew Ashong & Theo Parrish,
Circle Jerks,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.