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 Nauru and from Stockholm.
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 1978.
I'm losing my edge.
To all the kids in Winnipeg and Mumbai.
I'm losing my edge to the art-school Jakarta 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Blackbyrds to the grunge kids.
I played it at the Hacienda.
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 Cymande. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Sly & The Family Stone 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Sarah Menescal,
Lungfish,
R.M.O.,
Bobby Sherman,
Minor Threat,
Agitation Free,
Au Pairs,
Q and Not U,
Sam Rivers,
The Velvet Underground,
James Chance & The Contortions,
Piero Umiliani,
Avey Tare & Kría Brekkan,
Ronan,
Lou Reed & John Cale,
Outsiders,
Newcleus,
Beasts of Bourbon,
The Shadows of Knight,
Bootsy Collins,
Cameo,
Amazonics,
Man Parrish,
The Doors,
The Star Department,
Throbbing Gristle,
B.T. Express,
June Days,
Public Image Ltd.,
Royal Trux,
Swell Maps,
Theoretical Girls,
The Moody Blues,
Tim Buckley,
The Cure,
June of 44,
Fort Wilson Riot,
Darondo,
Tubeway Army,
Kango’s Stein Massive,
Reuben Wilson,
Country Teasers,
Mark Hollis,
Sparks,
The Count Five,
Glambeats Corp.,
Rahsaan Roland Kirk,
Bill Near,
Wolf Eyes,
Gregory Isaacs,
Bobby Byrd,
Jeff Mills,
Janne Schatter,
Sun Ra,
Skriet,
Ultramagnetic MC's,
Pete Rock & C.L. Smooth,
Guru Guru,
The Toasters,
Richard Hell and the Voidoids,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.