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 Russia and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Hong Kong.
I'm losing my edge to the art-school Hong Kong 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 Michael McDonald 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 Interpol to the crunk kids.
I played it at the Astoria.
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 China Crisis. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Ohio Players,
Wire,
Peter Gordon & Love of Life Orchestra,
Nick Fraelich,
Tim Buckley,
Grey Daturas,
Scratch Acid,
Sparks,
Isaac Hayes,
Lebanon Hanover,
T.S.O.L.,
Scion,
Popol Vuh,
The Real Kids,
X-102,
Joyce Sims,
Intrusion,
Bootsy's Rubber Band,
Reagan Youth,
Con Funk Shun,
Rowland S Howard / Lydia Lunch,
Anakelly,
Young Marble Giants,
Urselle,
The Busters,
Kas Product,
Bush Tetras,
Kevin Saunderson,
Mr. Review,
The Music Machine,
the Slits,
Angry Samoans,
Theoretical Girls,
Whodini,
Sight & Sound,
Prince Buster,
Shoche,
Mars,
Maurizio,
Mad Mike,
DNA,
Pet Shop Boys,
Average White Band,
Peter and Kerry,
a-ha,
Porter Ricks,
Roy Ayers,
The Peanut Butter Conspiracy,
Organ,
Sun Ra Arkestra,
Dawn Penn,
Moebius,
Siouxsie and the Banshees,
Ultravox,
Nirvana,
The Detroit Cobras,
Tom Boy,
Connie Case,
The Chocolate Watch Band,
Rahsaan Roland Kirk,
Johnny Osbourne,
Newcleus,
The Toasters,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.