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 Nicaragua and from Sao Paulo.
But I was there.
I was there in .
I was there at the first Suicide 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 1968 to 1970.
I'm losing my edge.
To all the kids in Houston and Manila.
I'm losing my edge to the art-school Toronto 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 chamberlin 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 Accadde A to the funk kids.
I played it at the Crocodile.
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 The Fire Engines. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Deakin,
Soft Cell,
Barbara Tucker,
Warsaw,
Basic Channel,
Cecil Taylor,
Josef K,
The Alarm Clocks,
Shuggie Otis,
Q65,
Sun Ra,
Whodini,
U.S. Maple,
Rowland S Howard / Lydia Lunch,
Pharoah Sanders,
Lou Reed & Metallica,
Country Teasers,
Ohio Players,
Steve Hackett,
Crispy Ambulance,
Ten City,
Roy Ayers Ubiquity,
Jimmy McGriff,
Major Organ And The Adding Machine,
Dr. Dre and Snoop Doggy Dog,
Marc Almond,
Unwound,
The Moleskins,
The Residents,
David Axelrod,
Pierre Henry,
Michelle Simonal,
Junior Murvin,
Cabaret Voltaire,
Blancmange,
Pantytec,
The Gun Club,
Cal Tjader,
Mars,
The Slackers,
Camberwell Now,
Sam Rivers,
Godley & Creme,
Rapeman,
Gil Scott-Heron and Jamie xx,
Lower 48,
Piero Umiliani,
The Knickerbockers,
Archie Shepp,
The Cowsills,
Johnny Clarke,
Rahsaan Roland Kirk,
Supertramp,
Swans,
Simply Red,
Lou Reed & John Cale,
The Velvet Underground,
Scrapy,
David McCallum,
Scan 7,
Peter & Gordon,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.