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 Japan and from Taipei.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1966 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Madrid 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 808 sounds with much patience.
I was there when David Bowie 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 Slave to the funk kids.
I played it at Trash.
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 Neil Young & Crazy Horse. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Franke 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ultimate Spinach record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul Sonic Force,
Camberwell Now,
KRS-One,
Andrew Hill,
Rod Modell,
Dorothy Ashby,
Joensuu 1685,
Easy Going,
Echo & the Bunnymen,
Lucky Dragons,
The Trojans,
Matthew Halsall,
June Days,
the Fania All-Stars,
James Chance & The Contortions,
Richard Hell and the Voidoids,
ABBA,
Mantronix,
The Remains,
Gian Franco Pienzio,
David McCallum,
The Barracudas,
The Cramps,
Mary Jane Girls,
Unrelated Segments,
Bronski Beat,
Avey Tare's Slasher Flicks,
Susan Cadogan,
Grandmaster Flash and the Furious Five,
Amazonics,
The Peanut Butter Conspiracy,
Essential Logic,
The Selecter,
Flipper,
Lafayette Afro Rock Band,
Deakin,
Lonnie Liston Smith,
Blancmange,
Bobbi Humphrey,
Motorama,
The Martian,
James White and The Blacks,
Marshall Jefferson,
Barry Ungar,
The Monks,
Bootsy's Rubber Band,
The United States of America,
The West Coast Pop Art Experimental Band,
Rowland S Howard / Lydia Lunch,
The Kinks,
The Golliwogs,
The Smiths,
Theoretical Girls,
Chris & Cosey,
Severed Heads,
Byron Stingily,
Kerri Chandler,
Glenn Branca,
Negative Approach,
Max Romeo,
The Associates,
Oneida, Oneida, Oneida, Oneida.
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.