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 Cuba and from Shanghai.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Calgary and Seoul.
I'm losing my edge to the art-school Toronto 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 The Flesh Eaters to the disco kids.
I played it at the Roxy.
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 Flipper. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Siglo XX record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Bobby Byrd,
Dennis Brown,
Piero Umiliani,
Y Pants,
Kauko Röyhkä ja Narttu,
Minny Pops,
Cecil Taylor,
Little Man,
Nation of Ulysses,
Erasure,
Orchestral Manoeuvres in the Dark,
Excepter,
Qualms,
Black Sheep,
The Shadows of Knight,
The Human League,
John Foxx,
The Stooges,
Negative Approach,
Al Stewart,
Dark Day,
U.S. Maple,
Max Romeo,
Liaisons Dangereuses,
Wire,
Stiv Bators,
the Bar-Kays,
The New Christs,
Rahsaan Roland Kirk,
Fort Wilson Riot,
Bauhaus,
The Golliwogs,
Marcia Griffiths,
Reagan Youth,
Model 500,
Scrapy,
Röyhkä ja Rättö ja Lehtisalo,
a-ha,
Scratch Acid,
Terry Callier,
Faust,
Red Lorry Yellow Lorry,
The Gun Club,
Beasts of Bourbon,
Roxette,
Nick Cave & The Bad Seeds,
Gil Scott-Heron & Brian Jackson,
Alice Coltrane,
Television,
New Order,
Warren Ellis,
The American Breed,
Funkadelic,
Slave,
The Index,
Roger Hodgson,
Bobby Womack,
Masters at Work,
Dr. Dre and Snoop Doggy Dog,
Heaven 17,
Technova,
Amon Düül II,
Hot Snakes,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.