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 Vanuatu and from Mumbai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1963 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Delhi.
I'm losing my edge to the art-school Madrid 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 clarinet 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 Johnny Osbourne to the grime 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 Pierre Henry. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Althea and Donna,
Pet Shop Boys,
Pantytec,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Oppenheimer Analysis,
The Dave Clark Five,
Bill Near,
Boredoms,
The Slits,
Pantaleimon,
Bill Wells,
K-Klass,
the Soft Cell,
Albert Ayler,
The Cure,
Loose Ends,
Neu!,
Cal Tjader,
The Sisters of Mercy,
Sonic Youth,
The Angels of Light,
Model 500,
James White and The Blacks,
Lalann,
June Days,
Grauzone,
Jerry Gold Smith,
Avey Tare,
Amon Düül,
Eric Copeland,
Public Enemy,
Ultra Naté,
Cymande,
Unrelated Segments,
Banda Bassotti,
Sällskapet,
Letta Mbulu,
Harpers Bizarre,
Joyce Sims,
Juan Atkins,
Kerrie Biddell,
FM Einheit,
Thinking Fellers Union Local 282,
Wolf Eyes,
The Buckinghams,
Teenage Jesus and the Jerks,
Maleditus Sound,
Cheater Slicks,
Flipper,
Andrew Ashong & Theo Parrish,
Gang Gang Dance,
Chrome,
The Barracudas,
The Doobie Brothers,
Josef K,
Peter Gordon & Love of Life Orchestra,
Dave Gahan,
T.S.O.L.,
The Shadows of Knight,
Lakeside,
Amon Düül II,
Organ,
Crash Course in Science,
Brick, Brick, Brick, Brick.
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.