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 Ethiopia and from Tehran.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Tehran and Delhi.
I'm losing my edge to the art-school Calgary 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the sitar 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 The Beau Brummels to the electroclash kids.
I played it at Cafe Wha.
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 Chris Corsano. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Black Flag,
48th St. Collective,
The Men They Couldn't Hang,
ABBA,
Letta Mbulu,
Toni Rubio,
Orchestral Manoeuvres in the Dark,
Spandau Ballet,
Lalo Schifrin,
Gerry Rafferty,
Laurel Aitken,
The West Coast Pop Art Experimental Band,
Siglo XX,
F. McDonald,
The Grass Roots,
Jesper Dahlbäck,
Moss Icon,
Adolescents,
Pantaleimon,
the Slits,
Lucky Dragons,
Neil Young,
Deadbeat,
Rhythm & Sound,
Amon Düül,
Nico,
Black Moon,
Newcleus,
Dual Sessions,
The Star Department,
Jesper Dahlback,
Young Marble Giants,
Minnie Riperton,
Gil Scott-Heron & Brian Jackson,
Sun Ra Arkestra,
Pharoah Sanders,
The Slits,
Sonic Youth,
Bluetip,
Basic Channel,
L. Decosne,
Roy Ayers Ubiquity,
Jandek,
The Index,
Cheater Slicks,
Nils Olav,
Minor Threat,
The Cramps,
Skaos,
Gang Gang Dance,
Boredoms,
Jacques Brel,
Guru Guru,
Steve Hackett,
Johnny Osbourne,
Fatback Band,
The Sisters of Mercy,
Aaron Thompson,
Slick Rick,
Visage,
Qualms,
Stiv Bators,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.