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 Belize and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Bremen 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 marimba sounds with much patience.
I was there when Holger Czukay 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 Kinks to the rap kids.
I played it at the Hacienda.
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 the Slits. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
The Buckinghams,
the Normal,
Joe Finger,
New Age Steppers,
Todd Terry,
Maleditus Sound,
Electric Light Orchestra,
Radiopuhelimet,
Deadbeat,
Roy Ayers,
Lou Christie,
The Fire Engines,
Terry Callier,
Gian Franco Pienzio,
The Vogues,
Parry Music,
Godley & Creme,
Gang Gang Dance,
FM Einheit,
Pantaleimon,
UT,
Ice-T,
Rufus Thomas,
Connie Case,
Ituana,
Mandrill,
The Move,
Major Organ And The Adding Machine,
Notorious Big And Bone Thugs,
Roy Ayers Ubiquity,
Erykah Badu,
Jandek,
Minor Threat,
Deakin,
Masters at Work,
Reagan Youth,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Newcleus,
Lyres,
Lee Hazlewood,
Public Enemy,
Trumans Water,
Eden Ahbez,
Mark Hollis,
Gil Scott Heron,
Pole,
Art Ensemble Of Chicago,
Eric B and Rakim,
Toni Rubio,
Lebanon Hanover,
Dual Sessions,
B.T. Express,
Rahsaan Roland Kirk,
R.M.O.,
The New Christs,
Cabaret Voltaire,
Justin Hinds & The Dominoes,
Hasil Adkins,
JFA,
Pete Rock & C.L. Smooth,
Cluster, Cluster, Cluster, Cluster.
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.