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 Macedonia and from Lille.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Spokane 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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb 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 Minny Pops to the grunge kids.
I played it at the Spitz.
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 Cecil Taylor. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Johnny Osbourne 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Porter Ricks,
Kevin Saunderson,
Curtis Mayfield,
Grey Daturas,
Nirvana,
It's A Beautiful Day,
Magazine,
Severed Heads,
Red Lorry Yellow Lorry,
Blossom Toes,
Sarah Menescal,
Rod Modell,
Mandrill,
Louis and Bebe Barron,
Girls At Our Best!,
Chris Corsano,
Skriet,
Selector Dub Narcotic,
Sixth Finger,
Television Personalities,
Black Flag,
Brass Construction,
The Buckinghams,
Maurizio,
10cc,
Panda Bear,
Mary Jane Girls,
The Seeds,
Orchestral Manoeuvres in the Dark,
Ajijia Myrayebe,
The Monochrome Set,
New Age Steppers,
Prince Buster,
Pagans,
Ludus,
Skaos,
The Mighty Diamonds,
KRS-One,
Crime,
48th St. Collective,
Sparks,
Intrusion,
Joey Negro,
Soft Machine,
Bootsy's Rubber Band,
Circle Jerks,
Basic Channel,
Ultra Naté,
June of 44,
Moby Grape,
The Invisible,
Bobby Byrd,
Faust,
Jacob Miller,
Derrick Morgan,
The Happenings,
Zapp,
Soft Cell,
Sun City Girls,
The Vogues,
Quantec, Quantec, Quantec, Quantec.
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.