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 Syria and from Tehran.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1975.
I'm losing my edge.
To all the kids in Halifax and Paris.
I'm losing my edge to the art-school Bremen 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 organ sounds with much patience.
I was there when David Bowie 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 L. Decosne to the punk kids.
I played it at the Troubador.
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 Marcia Griffiths. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Shuggie Otis 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 snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Johnny Osbourne,
The Modern Lovers,
Bootsy Collins,
John Coltrane,
Electric Prunes,
the Germs,
Charles Mingus,
Amon Düül II,
Cheater Slicks,
The Seeds,
DNA,
The Music Machine,
FM Einheit,
Jeff Mills,
Connie Case,
Basic Channel,
kango's stein massive,
Lou Reed,
Electric Light Orchestra,
Los Fastidios,
One Last Wish,
The Litter,
Ornette Coleman,
Smog,
Aural Exciters,
Arthur Verocai,
China Crisis,
Tommy Roe,
Fear,
The Gun Club,
Oneida,
Jerry Gold Smith,
Major Organ And The Adding Machine,
The Doobie Brothers,
Scientists,
The Buckinghams,
Qualms,
The Mummies,
The Misunderstood,
The Alarm Clocks,
Flamin' Groovies,
Marc Almond,
Rekid,
The Mojo Men,
The Gap Band,
Letta Mbulu,
Television,
Donald Byrd,
Japan,
Rod Modell,
Eric Copeland,
Sex Pistols,
48th St. Collective,
The Royal Family And The Poor,
The Star Department,
Strawberry Alarm Clock,
Bang on a Can All-Stars,
Siouxsie and the Banshees,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.