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 Mongolia and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Houston and Tehran.
I'm losing my edge to the art-school Cairo 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Graham Central Station to the dance 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 Henry Cow. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Joy Division record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
JFA,
The Remains,
Gil Scott Heron,
Ralphi Rosario,
The Busters,
Pantytec,
Mantronix,
John Holt,
Cluster,
Pole,
The Selecter,
The Sonics,
Massinfluence,
Brand Nubian,
Public Enemy,
Nation of Ulysses,
The Doors,
Essential Logic,
Camberwell Now,
Jesper Dahlback,
Fugazi,
Section 25,
Crash Course in Science,
Connie Case,
Minutemen,
Eddi Front,
Jacob Miller,
The Dirtbombs,
Roger Hodgson,
Chris Corsano,
The Tremeloes,
The Dave Clark Five,
Major Organ And The Adding Machine,
Roy Ayers,
Roy Ayers Ubiquity,
Barry Ungar,
the Bar-Kays,
Porter Ricks,
Rhythim Is Rhythim,
The Black Dice,
Franke,
The Human League,
Freddie Wadling,
Erykah Badu,
Rosa Yemen,
Gabor Szabo,
Kool Moe Dee,
Fatback Band,
John Coltrane,
Depeche Mode,
Warren Ellis,
The Victims,
Young Marble Giants,
Heavy D & The Boyz,
Ultimate Spinach,
X-102,
Eric B and Rakim,
Bootsy's Rubber Band,
Bang On A Can,
AZ,
KRS-One,
Panda Bear, Panda Bear, Panda Bear, Panda Bear.
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.