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 Afghanistan and from Spokane.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Shanghai.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the clarinet 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 E-Dancer to the rock 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 Black Moon. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every Black Flag 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Piero Umiliani,
Orchestral Manoeuvres in the Dark,
MDC,
Monolake,
the Slits,
The Gap Band,
Can,
Gil Scott Heron,
Grandmaster Flash and the Furious Five,
Bill Near,
A Certain Ratio,
the Bar-Kays,
Banda Bassotti,
Yaz,
Pylon,
The Litter,
X-102,
Dorothy Ashby,
Subhumans,
ABBA,
Chrome,
This Heat,
Talk Talk,
Black Bananas,
Vainqueur,
Silicon Teens,
Sixth Finger,
Amon Düül II,
Gian Franco Pienzio,
Warsaw,
Mo-Dettes,
The Peanut Butter Conspiracy,
Arthur Verocai,
Tears for Fears,
Scion,
Pagans,
Donny Hathaway,
X-Ray Spex,
De La Soul & Jungle Brothers,
Marine Girls,
Lower 48,
Matthew Bourne,
Theoretical Girls,
Harry Pussy,
DNA,
Jesper Dahlback,
The Raincoats,
Andrew Ashong & Theo Parrish,
Freddie Wadling,
Notorious Big And Bone Thugs,
The Men They Couldn't Hang,
Iggy Pop,
ABC,
The Birthday Party,
Sun Ra Arkestra,
Sonny Sharrock,
DJ Style,
48th St. Collective,
Ash Ra Tempel,
The Residents,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.