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 Zambia and from Johannesburg.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 Bologna and Johannesburg.
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 snare 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 Altered Images to the jazz kids.
I played it at the Crocodile.
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 Bill Wells. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Lyres,
Lizzy Mercier Descloux,
The Cosmic Jokers,
Adolescents,
Eric B and Rakim,
Symarip,
Dual Sessions,
Public Enemy,
U.S. Maple,
Heaven 17,
Rites of Spring,
Davy DMX,
David McCallum,
Panda Bear,
Babytalk,
Warren Ellis,
The Martian,
A Certain Ratio,
The Dirtbombs,
Groovy Waters,
Delon & Dalcan,
Animal Collective,
Jesper Dahlback,
June Days,
Siouxsie and the Banshees,
Audionom,
Buzzcocks,
The Victims,
The American Breed,
Niagra,
Crispian St. Peters,
the Sonics,
The Cure,
John Cale,
Shoche,
Gian Franco Pienzio,
Blancmange,
Gang Gang Dance,
The Busters,
Don Cherry,
Kas Product,
Con Funk Shun,
Crash Course in Science,
Bauhaus,
Scrapy,
Bluetip,
Porter Ricks,
Bobby Hutcherson,
De La Soul & Jungle Brothers,
Anthony Braxton,
The Jesus and Mary Chain,
Maurizio,
Cecil Taylor,
Idris Muhammad,
The Human League,
Patti Smith,
Scratch Acid,
Boz Scaggs,
The Smiths,
Amon Düül II,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.