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 Rwanda and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1972.
I'm losing my edge.
To all the kids in New York and Seoul.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the marimba 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 Derrick May to the electroclash 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 Joy Division. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
T. Rex,
Al Stewart,
Desert Stars,
Oblivians,
Newcleus,
Thompson Twins,
Jeff Lynne,
Juan Atkins,
Talk Talk,
Pete Rock & C.L. Smooth,
Gary Puckett & The Union Gap,
Chrome,
Mr. Review,
Dennis Brown,
Deutsch Amerikanische Freundschaft,
Terry Callier,
Rotary Connection,
The Techniques,
Franke,
Skarface,
X-102,
Robert Görl,
Can,
The Fire Engines,
Junior Murvin,
Sly & The Family Stone,
Lower 48,
Andrew Hill,
Frankie Knuckles,
Popol Vuh,
The Jesus and Mary Chain,
The Gun Club,
Dead Boys,
Flipper,
Reuben Wilson,
Kango’s Stein Massive,
Japan,
Bootsy's Rubber Band,
The Electric Prunes,
Crooked Eye,
David McCallum,
Derrick Morgan,
Toni Rubio,
Goldenarms,
Patti Smith,
Bang On A Can,
Michelle Simonal,
The Wake,
Eurythmics,
Fugazi,
Subhumans,
Dark Day,
Fifty Foot Hose,
Lindisfarne,
E-Dancer,
the Fania All-Stars,
Sällskapet,
Negative Approach,
New Order, New Order, New Order, New Order.
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.