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 Malta and from Beijing.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Accra and Manila.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 The Flesh Eaters 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 John Lydon. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya 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?
Lyres,
The Alarm Clocks,
Loose Ends,
Electric Light Orchestra,
The Jesus and Mary Chain,
Japan,
Bauhaus,
Ajijia Myrayebe,
Lucky Dragons,
Terry Callier,
Country Teasers,
H. Thieme,
Buzzcocks,
Blossom Toes,
E-Dancer,
Pierre Henry,
Glambeats Corp.,
Brass Construction,
Metal Thangz,
Babytalk,
Soulsonic Force,
The Vogues,
The New Christs,
Swans,
Radio Birdman,
Ossler,
The Saints,
Michelle Simonal,
Audionom,
Fad Gadget,
The Music Machine,
New Order,
Blake Baxter,
Man Parrish,
Sticky Fingaz feat. Raekwon,
The Standells,
Monks,
Warren Ellis,
Tropical Tobacco,
Pete Rock & C.L. Smooth,
Tim Buckley,
Slick Rick,
La Düsseldorf,
James White and The Blacks,
Marshall Jefferson,
The Velvet Underground,
Hardrive,
Hoover,
Bluetip,
Malaria!,
MDC,
Avey Tare,
The Cowsills,
Eden Ahbez,
The Men They Couldn't Hang,
Aaron Thompson,
K-Klass,
Rites of Spring,
Kerri Chandler,
Wally Richardson,
Mr. Review,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.