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 Ukraine and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1976.
I'm losing my edge.
To all the kids in Edmonton and Houston.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the güiro 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 Graham Central Station to the electroclash 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 Kango’s Stein Massive. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Harpers Bizarre,
Juan Atkins,
the Fania All-Stars,
The Names,
Gil Scott-Heron and Jamie xx,
The Blues Magoos,
kango's stein massive,
Marmalade,
Bang on a Can All-Stars,
The United States of America,
The Doors,
Massinfluence,
Charles Mingus,
Procol Harum,
Gang Starr,
The Dave Clark Five,
Kayak,
Harmonia,
UT,
Scientists,
Thinking Fellers Union Local 282,
Scrapy,
AZ,
David McCallum,
Aural Exciters,
Wighnomy Brothers & Robag Wruhme,
Cybotron,
The Human League,
Johnny Osbourne,
Accadde A,
Mr. Review,
Terrestrial Tones,
Television,
Howard Jones,
The Dead C,
Mars,
Franke,
Jandek,
Ultravox,
Sparks,
Public Image Ltd.,
Heavy D & The Boyz,
Nico,
the Slits,
Maleditus Sound,
Dawn Penn,
Saccharine Trust,
Scratch Acid,
Kool G Rap & DJ Polo,
Grandmaster Flash and the Furious Five,
Nirvana,
Andrew Ashong & Theo Parrish,
Moss Icon,
Soul Sonic Force,
Minor Threat,
Newcleus,
Chrome,
DJ Style,
Blossom Toes,
Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud.
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.