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 Finland and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Columbus and Cairo.
I'm losing my edge to the art-school Winnipeg 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 oboe sounds with much patience.
I was there when Nile Rodgers 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 UT to the jazz kids.
I played it at the Spitz.
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 Ornette Coleman. All the underground hits.
All Pete Rock & C.L. Smooth tracks. I heard you have a vinyl of every Section 25 record on German import.
I heard that you have a white label of every seminal disco 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 marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Pierre Henry,
Scan 7,
Brass Construction,
Throbbing Gristle,
Stockholm Monsters,
Deepchord,
Icehouse,
The Black Dice,
Justin Hinds & The Dominoes,
Quantec,
Circle Jerks,
Jacob Miller,
Pulsallama,
Negative Approach,
Magazine,
The Sound,
Rowland S Howard / Lydia Lunch,
Gang Starr,
Jesper Dahlback,
Y Pants,
The Alarm Clocks,
Slave,
Deadbeat,
Joy Division,
The Mojo Men,
Angry Samoans,
Gastr Del Sol,
Suburban Knight,
Teenage Jesus and the Jerks,
Warren Ellis,
Kings Of Tomorrow,
The Buckinghams,
The Fire Engines,
Derrick May,
Porter Ricks,
10cc,
Simply Red,
The Last Poets,
Oppenheimer Analysis,
London Community Gospel Choir,
The Evens,
Country Joe & The Fish,
Rhythm & Sound,
Iggy Pop,
Fat Boys,
Isaac Hayes,
Whodini,
Marc Romboy vs. Booka Shade,
The Fuzztones,
Pet Shop Boys,
the Slits,
Avey Tare,
China Crisis,
Reagan Youth,
Lightning Bolt,
Lower 48,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.