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 Denmark and from Paris.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Toronto and Winnipeg.
I'm losing my edge to the art-school Spokane 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 1968 at the first Can practice in a loft in Cologne.
I was working on the harpsichord 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 Grandmaster Flash to the disco kids.
I played it at CBGB's.
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 A Certain Ratio. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
F. McDonald,
Sister Nancy,
Graham Central Station,
Underground Resistance,
Pylon,
Gerry Rafferty,
Average White Band,
Fatback Band,
The Modern Lovers,
Curtis Mayfield,
ABC,
Jandek,
Camouflage,
Sad Lovers and Giants,
Lonnie Liston Smith,
Fela Kuti,
Electric Light Orchestra,
X-Ray Spex,
Q65,
New Age Steppers,
Drexciya,
Tomorrow,
Rosa Yemen,
Lucky Dragons,
Johnny Clarke,
Colin Newman,
Isaac Hayes,
Mary Jane Girls,
Grandmaster Flash,
JFA,
Nik Kershaw,
Jacques Brel,
Tres Demented,
Subhumans,
Unrelated Segments,
The Flesh Eaters,
Rites of Spring,
The Gap Band,
The Techniques,
Wighnomy Brothers & Robag Wruhme,
Avey Tare,
Deakin,
Pierre Henry,
Supertramp,
Cymande,
Ken Boothe,
The Evens,
Visionaries,LMNO, T- Love & Iriscience,
Joyce Sims,
The Last Poets,
L. Decosne,
Bizarre Inc.,
Organ,
the Sonics,
Lungfish,
Neil Young,
Mission of Burma,
Scott Walker,
Thee Headcoats,
Roy Ayers Ubiquity,
Liaisons Dangereuses,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.