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 South Sudan and from Taipei.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Manila and Lagos.
I'm losing my edge to the art-school Madrid 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Grandmaster Flash to the electroclash 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 Das Ding. All the underground hits.
All Smog tracks. I heard you have a vinyl of every The Pretty Things record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Alice Coltrane,
Banda Bassotti,
Joe Finger,
Mandrill,
The Index,
Electric Prunes,
The Durutti Column,
Lower 48,
Liaisons Dangereuses,
Dorothy Ashby,
Spandau Ballet,
The Slackers,
The Beau Brummels,
Alison Limerick,
Subhumans,
Moebius,
Nick Cave & The Bad Seeds,
Justin Hinds & The Dominoes,
Albert Ayler,
Steve Hackett,
Marmalade,
Bad Manners,
Notorious BIG live in Amsterdam,
Lizzy Mercier Descloux,
The Moleskins,
Black Moon,
Eden Ahbez,
Groovy Waters,
Livin' Joy,
Terry Callier,
Make Up,
Funkadelic,
Crispian St. Peters,
Interpol,
The Techniques,
Jandek,
Pharaoh Sanders and the Fire Engines,
Cluster,
Pantaleimon,
The Offenders,
Slave,
The Human League,
Agent Orange,
The Cramps,
Mars,
Maurizio,
Godley & Creme,
Rufus Thomas,
The Litter,
Boogie Down Productions,
Reuben Wilson,
Model 500,
Yusef Lateef,
Bobby Sherman,
Traffic Nightmare,
Todd Terry,
Scion,
Stiv Bators,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.