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 Namibia and from Mexico City.
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 1969 to 1975.
I'm losing my edge.
To all the kids in New York and Toronto.
I'm losing my edge to the art-school Tokyo 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 Nile Rodgers 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 The Beau Brummels to the jazz kids.
I played it at the Troubador.
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 Lightning Bolt. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Terrestrial Tones,
Notorious BIG live in Amsterdam,
Marc Romboy vs. Booka Shade,
Lou Reed & John Cale,
Kool Moe Dee,
Robert Hood,
Joe Smooth,
Drive Like Jehu,
The Five Americans,
Delon & Dalcan,
Visage,
This Heat,
The Jesus and Mary Chain,
Technova,
Carl Craig,
La Düsseldorf,
The Doors,
Ornette Coleman,
The Martian,
The Motions,
Joy Division,
Richard Hell and the Voidoids,
The Fire Engines,
Jesper Dahlbäck,
Boogie Down Productions,
The Pop Group,
Roxy Music,
The Pretty Things,
Kas Product,
Thinking Fellers Union Local 282,
Alice Coltrane,
Ralphi Rosario,
Archie Shepp,
Rowland S Howard / Lydia Lunch,
Eric Copeland,
Ossler,
Jacob Miller,
The Index,
Nick Cave & The Bad Seeds,
Grauzone,
Magma,
Matthew Bourne,
Anthony Braxton,
Talk Talk,
Young Marble Giants,
Bad Manners,
DNA,
Desert Stars,
Black Flag,
48th St. Collective,
Alphaville,
The Doobie Brothers,
Pantytec,
Bang on a Can All-Stars,
Kayak,
Lalo Schifrin,
Dave Gahan,
The Birthday Party,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.