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 Luxembourg and from Sao Paulo.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Portland.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Electric Prunes to the grunge kids.
I played it at the Troubador.
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 Glenn Branca. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Sugar Minott 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
The Gladiators,
Curtis Mayfield,
AZ,
Das Ding,
Gang of Four,
Ronnie Foster,
D'Angelo,
Liaisons Dangereuses,
Bronski Beat,
Soft Cell,
Tom Boy,
Lonnie Liston Smith,
Frankie Knuckles,
Accadde A,
Bootsy's Rubber Band,
Derrick May,
Howard Jones,
Electric Light Orchestra,
Bobby Byrd,
Fat Boys,
Bush Tetras,
Amazonics,
In Retrospect,
Jeff Lynne,
K-Klass,
Joensuu 1685,
Moby Grape,
Loose Ends,
The Cramps,
Black Flag,
Adolescents,
Crooked Eye,
Eve St. Jones,
Grey Daturas,
Josef K,
Los Fastidios,
Rod Modell,
Avey Tare,
The Star Department,
Camberwell Now,
The Fugs,
Bootsy Collins,
The Seeds,
London Community Gospel Choir,
PIL,
Ituana,
Dual Sessions,
Jerry's Kids,
Sparks,
Erykah Badu,
Radiopuhelimet,
Larry & the Blue Notes,
X-101,
Louis and Bebe Barron,
Roy Ayers Ubiquity,
The Motions,
Juan Atkins,
Tomorrow,
The Black Dice,
Peter and Kerry,
Zapp,
Panda Bear,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.