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 Guatemala and from New York.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Edmonton 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 güiro 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 Grandmaster Flash and the Furious Five to the electroclash 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 The Selecter. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Eric Copeland,
Harmonia,
Big Daddy Kane,
Ludus,
Japan,
Swans,
UT,
Glambeats Corp.,
Lafayette Afro Rock Band,
Barry Ungar,
Metal Thangz,
The Chocolate Watch Band,
Little Man,
The Knickerbockers,
June of 44,
The Selecter,
Lonnie Liston Smith,
Iggy Pop,
Orchestral Manoeuvres in the Dark,
Mad Mike,
Rapeman,
Roxette,
The Fire Engines,
Desert Stars,
Grandmaster Flash,
Jesper Dahlbäck,
Can,
Khruangbin,
Roger Hodgson,
Terry Callier,
Stockholm Monsters,
The Monochrome Set,
Crime,
Radiopuhelimet,
Gregory Isaacs,
Danielle Patucci,
The Smiths,
Cameo,
Selector Dub Narcotic,
Suicide,
Art Ensemble Of Chicago,
Pierre Henry,
Morten Harket,
Sex Pistols,
Moebius,
Los Fastidios,
Marshall Jefferson,
Interpol,
Saccharine Trust,
Aaron Thompson,
Technova,
Albert Ayler,
Au Pairs,
Junior Murvin,
The Skatalites,
Neil Young,
Gil Scott Heron,
Faust,
FM Einheit,
Cabaret Voltaire,
Underground Resistance,
Anakelly,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.