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 Eritrea and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Portland and Calgary.
I'm losing my edge to the art-school Beijing 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 Liliput to the rap kids.
I played it at the 40 Watt.
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 Newcleus. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator 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 mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Massinfluence,
Bobby Hutcherson,
Hashim,
Cameo,
Fear,
Trumans Water,
The Neon Judgement,
Camron Feat. Memphis Bleek And Beenie Seigel,
Easy Going,
Aaron Thompson,
Kurtis Blow,
Dave Gahan,
a-ha,
Sunsets and Hearts,
Television Personalities,
DNA,
Bootsy Collins,
Anakelly,
Wolf Eyes,
Brick,
The Jesus and Mary Chain,
Lindisfarne,
Jeff Mills,
Animal Collective,
Porter Ricks,
Yusef Lateef,
Hot Snakes,
Fat Boys,
Arab on Radar,
Magazine,
The Offenders,
Babytalk,
Oblivians,
Donny Hathaway,
Richard Hell and the Voidoids,
Colin Newman,
Sticky Fingaz feat. Raekwon,
Soulsonic Force,
Grandmaster Flash and the Furious Five,
Yaz,
The Standells,
Neu!,
Little Man,
Marshall Jefferson,
Bang On A Can,
Larry & the Blue Notes,
Second Layer,
Rakim,
Louis and Bebe Barron,
Crispy Ambulance,
Ituana,
Howard Jones,
Kas Product,
Darondo,
Severed Heads,
Johnny Osbourne,
Oppenheimer Analysis,
The Motions,
Godley & Creme, Godley & Creme, Godley & Creme, Godley & Creme.
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.