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 Iceland and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Paris and Accra.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Lower 48 to the jazz 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 Pylon. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every The Vogues 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
E-Dancer,
Man Eating Sloth,
The Gladiators,
Colin Newman,
The West Coast Pop Art Experimental Band,
Ralphi Rosario,
The Doors,
Al Stewart,
Blossom Toes,
The Cramps,
John Foxx,
Gang Starr,
Jandek,
A Certain Ratio,
Black Pus,
The Litter,
Alphaville,
U.S. Maple,
Unrelated Segments,
Laurel Aitken,
Sam Rivers,
Crash Course in Science,
The Sonics,
Sad Lovers and Giants,
JFA,
Main Source,
Electric Light Orchestra,
Deakin,
The Detroit Cobras,
The Remains,
Todd Terry,
Thompson Twins,
Television,
Justin Hinds & The Dominoes,
Trumans Water,
The Real Kids,
Wolf Eyes,
Letta Mbulu,
Chris Corsano,
Ronan,
Heavy D & The Boyz,
Vaughan Mason & Crew,
Wally Richardson,
Warsaw,
The American Breed,
John Coltrane,
Manfred Mann's Earth Band,
Bill Near,
Lou Reed & Metallica,
Larry & the Blue Notes,
Scratch Acid,
Tropical Tobacco,
The Birthday Party,
ABC,
The Motions,
The Blackbyrds,
Bobbi Humphrey,
Eurythmics,
Flash Fearless,
Wings,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.