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 Zimbabwe and from Seoul.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Columbus.
I'm losing my edge to the art-school London 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Busters to the dance 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 Panda Bear. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Nation of Ulysses 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 '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Crooked Eye record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Barbara Tucker,
The Slackers,
Bill Near,
Sarah Menescal,
Al Stewart,
The Divine Comedy,
Fifty Foot Hose,
Clear Light,
Art Ensemble Of Chicago,
Sexual Harrassment,
Soft Cell,
Con Funk Shun,
Dead Boys,
Ultramagnetic MC's,
Notorious BIG live in Amsterdam,
John Foxx,
Ossler,
The Standells,
Pulsallama,
Camouflage,
Juan Atkins,
the Bar-Kays,
Scan 7,
L. Decosne,
Barrington Levy,
Main Source,
The Dave Clark Five,
The Star Department,
AZ,
The Zeros,
Liliput,
Girls At Our Best!,
the Slits,
Das Ding,
Rites of Spring,
Stockholm Monsters,
Sun Ra,
Slave,
The Five Americans,
The Fall,
Drexciya,
Hashim,
Circle Jerks,
ABBA,
Soul II Soul,
Sex Pistols,
Arab on Radar,
Derrick May,
Orchestral Manoeuvres in the Dark,
Zero Boys,
Sonny Sharrock,
Technova,
Archie Shepp,
T.S.O.L.,
Sun Ra Arkestra,
Kauko Röyhkä ja Narttu,
Ten City,
Lafayette Afro Rock Band,
Aaron Thompson,
Bobbi Humphrey,
Gary Puckett & The Union Gap,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.