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 Belgium and from Tokyo.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Bologna and Jakarta.
I'm losing my edge to the art-school Calgary 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the organ 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 Bobby Womack 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 Dual Sessions. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Masters at Work 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 a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra,
Bauhaus,
Lou Reed,
Ornette Coleman,
Boogie Down Productions,
Wally Richardson,
Nico,
Brass Construction,
The Sound,
Darondo,
The Pretty Things,
Loose Ends,
Sarah Menescal,
ABBA,
Anakelly,
Nik Kershaw,
Pete Rock & C.L. Smooth,
Joyce Sims,
Curtis Mayfield,
UT,
Delon & Dalcan,
This Heat,
Sad Lovers and Giants,
U.S. Maple,
Sly & The Family Stone,
Throbbing Gristle,
FM Einheit,
Judy Mowatt,
The Mojo Men,
Beasts of Bourbon,
Underground Resistance,
Agitation Free,
Chris & Cosey,
The Barracudas,
Black Sheep,
Pylon,
Monolake,
Nick Fraelich,
Ossler,
Lonnie Liston Smith,
Severed Heads,
The Motions,
The Sisters of Mercy,
Rapeman,
Grey Daturas,
The Monochrome Set,
Laurel Aitken,
Röyhkä ja Rättö ja Lehtisalo,
The Names,
Joe Smooth,
Saccharine Trust,
Zapp,
The Fire Engines,
Frankie Knuckles,
Aswad,
The Fuzztones,
Oppenheimer Analysis,
Pole,
The Seeds,
Fad Gadget,
The Angels of Light,
Procol Harum,
Jawbox, Jawbox, Jawbox, Jawbox.
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.