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 Algeria 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 1974.
I'm losing my edge.
To all the kids in London and Shanghai.
I'm losing my edge to the art-school Seoul 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Ronnie Foster to the disco kids.
I played it at the 40 Watt.
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 Siouxsie and the Banshees. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Idris Muhammad 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
The Blackbyrds,
Gary Puckett & The Union Gap,
Bobby Womack,
Drexciya,
Nico,
Swell Maps,
The Happenings,
The Jesus and Mary Chain,
Big Daddy Kane,
Ultimate Spinach,
Ultra Naté,
Deadbeat,
The Kinks,
Isaac Hayes,
Robert Hood,
Quando Quango,
E-Dancer,
Dead Boys,
Pole,
OOIOO,
Johnny Osbourne,
Duran Duran,
Bang on a Can All-Stars,
Brick,
Connie Case,
The Monks,
One Last Wish,
Johnny Clarke,
Ronan,
The Victims,
8 Eyed Spy,
Robert Görl,
Glambeats Corp.,
Vladislav Delay,
the Bar-Kays,
Oblivians,
Rufus Thomas,
Lalann,
Eve St. Jones,
A Flock of Seagulls,
The Pretty Things,
Ultramagnetic MC's,
Judy Mowatt,
Sad Lovers and Giants,
Barrington Levy,
Mandrill,
Mo-Dettes,
Joyce Sims,
Faraquet,
The Litter,
Buzzcocks,
Avey Tare's Slasher Flicks,
Larry & the Blue Notes,
Saccharine Trust,
Todd Terry,
Michelle Simonal,
Lee Hazlewood,
Dr. Dre and Snoop Doggy Dog,
Fugazi,
Bobby Byrd,
Fela Kuti,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.