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 Samoa and from Columbus.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Columbus.
I'm losing my edge to the art-school Taipei 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Gregory Isaacs to the disco kids.
I played it at the Astoria.
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 Gregory Isaacs. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal grunge 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 snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
L. Decosne,
Arab on Radar,
Brass Construction,
Sex Pistols,
Lungfish,
The Electric Prunes,
Blake Baxter,
Monolake,
Matthew Bourne,
Gil Scott Heron,
Cameo,
Joey Negro,
Dorothy Ashby,
Von Mondo,
Roy Ayers Ubiquity,
Gang of Four,
MC5,
Thinking Fellers Union Local 282,
The Moleskins,
Nick Fraelich,
Wire,
Tim Buckley,
Average White Band,
Grandmaster Flash,
Jeff Mills,
Lou Reed,
X-102,
Black Sheep,
Eurythmics,
The Jesus and Mary Chain,
Super Lover Cee & Casanova Rud,
The Count Five,
New Age Steppers,
Gang Green,
Joe Finger,
Grauzone,
Scan 7,
Judy Mowatt,
Japan,
Cecil Taylor,
Echo & the Bunnymen,
Gang Gang Dance,
The Gun Club,
New York Dolls,
Tomorrow,
Underground Resistance,
Deakin,
John Cale,
Sonny Sharrock,
Minny Pops,
Marc Almond,
Make Up,
Alphaville,
Smog,
Rod Modell,
Nirvana,
Groovy Waters,
The Leaves,
Angry Samoans,
Schoolly D,
Ultravox, Ultravox, Ultravox, Ultravox.
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.