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 Finland and from Madrid.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Tehran and Calgary.
I'm losing my edge to the art-school Mumbai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 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 Neil Young & Crazy Horse to the dance kids.
I played it at the Hacienda.
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 Anthony Braxton. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Lightning Bolt,
Richard Hell and the Voidoids,
Hoover,
Ultravox,
Vladislav Delay,
The United States of America,
Jacob Miller,
Vainqueur,
The Fire Engines,
Black Moon,
Sun City Girls,
MDC,
Camberwell Now,
Radio Birdman,
Curtis Mayfield,
Gichy Dan,
the Sonics,
Urselle,
Fifty Foot Hose,
Lindisfarne,
Neu!,
Dual Sessions,
Whodini,
Kool G Rap & DJ Polo,
Barrington Levy,
Art Ensemble Of Chicago,
8 Eyed Spy,
The Fuzztones,
Smog,
Siouxsie and the Banshees,
Metal Thangz,
John Lydon,
Kerri Chandler,
MC5,
Peter Gordon & Love of Life Orchestra,
Flamin' Groovies,
LL Cool J,
Pulsallama,
Be Bop Deluxe,
Los Fastidios,
Pete Rock & C.L. Smooth,
Popol Vuh,
Howard Jones,
Deutsch Amerikanische Freundschaft,
In Retrospect,
Jandek,
John Coltrane,
Wasted Youth,
Frankie Knuckles,
Sparks,
Clear Light,
Country Teasers,
Harry Pussy,
Youth Brigade,
X-102,
The Wake,
Unrelated Segments,
Lucky Dragons,
Joe Smooth,
The Trojans,
Echo & the Bunnymen,
The Techniques, The Techniques, The Techniques, The Techniques.
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.