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 Guyana and from Woodstock.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Manila.
I'm losing my edge to the art-school London 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 The Music Machine to the punk kids.
I played it at the Roxy.
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 Lucky Dragons. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds 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?
Au Pairs,
Smog,
The Victims,
Nick Cave & The Bad Seeds,
K-Klass,
The Durutti Column,
Lizzy Mercier Descloux,
The Mummies,
The Dead C,
a-ha,
Minnie Riperton,
Television,
Nas,
Big Daddy Kane,
Gil Scott-Heron & Brian Jackson,
The Mighty Diamonds,
X-102,
Glenn Branca,
ABBA,
Basic Channel,
Gil Scott-Heron and Jamie xx,
Bobby Hutcherson,
Audionom,
Severed Heads,
Camouflage,
Ohio Players,
Major Organ And The Adding Machine,
Alphaville,
Delta 5,
Lyres,
The Sound,
Scrapy,
Radiopuhelimet,
The Star Department,
The Cowsills,
Kauko Röyhkä ja Narttu,
Mantronix,
Vainqueur,
The Happenings,
Gian Franco Pienzio,
Hardrive,
Ronnie Foster,
Tomorrow,
Deakin,
Super Lover Cee & Casanova Rud,
Gang of Four,
Hashim,
Country Teasers,
Josef K,
Don Cherry,
Zero Boys,
The Beau Brummels,
the Soft Cell,
Pharaoh Sanders and the Fire Engines,
Inner City,
Wings,
Matthew Halsall,
Jerry Gold Smith,
Public Enemy,
Notorious Big And Bone Thugs,
The Gun Club,
Glambeats Corp.,
Kaleidoscope,
Jimmy McGriff,
Joy Division, Joy Division, Joy Division, Joy Division.
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.