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 Sudan and from Mexico City.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
I'm losing my edge to the art-school Accra 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Rapeman to the rock kids.
I played it at the Astoria.
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 Crispian St. Peters. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Johnny Osbourne 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 '70s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Whodini,
Metal Thangz,
Slick Rick,
Avey Tare,
Pete Rock & C.L. Smooth,
Boogie Down Productions,
Soul Sonic Force,
Drive Like Jehu,
Buzzcocks,
Pulsallama,
The Neon Judgement,
Skriet,
Tom Boy,
The Saints,
Country Teasers,
The Kinks,
Sly & The Family Stone,
Orchestral Manoeuvres in the Dark,
Underground Resistance,
Jawbox,
Kango’s Stein Massive,
Slave,
The Music Machine,
Funkadelic,
Grey Daturas,
Animal Collective,
Subhumans,
Wighnomy Brothers & Robag Wruhme,
New Age Steppers,
Girls At Our Best!,
The Zeros,
Rufus Thomas,
Mission of Burma,
Rites of Spring,
Faraquet,
Kevin Saunderson,
the Swans,
Peter & Gordon,
June of 44,
Frankie Knuckles,
KRS-One,
Lou Reed,
The Invisible,
The Angels of Light,
Symarip,
David McCallum,
Bang on a Can All-Stars,
Pharaoh Sanders and the Fire Engines,
Cheater Slicks,
Television,
Swell Maps,
The Velvet Underground,
The Sound,
Duran Duran,
Reagan Youth,
Gil Scott-Heron & Brian Jackson,
The Wake,
Mr. Review,
Junior Murvin,
Davy DMX,
Iggy Pop, Iggy Pop, Iggy Pop, Iggy Pop.
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.