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 Greece and from Jakarta.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Columbus and Columbus.
I'm losing my edge to the art-school Lille 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 Popol Vuh to the dance kids.
I played it at the Spitz.
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 Symarip. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every The Cowsills 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
The Chocolate Watch Band,
Bill Near,
Curtis Mayfield,
Dorothy Ashby,
Cheater Slicks,
Swell Maps,
It's A Beautiful Day,
The Invisible,
Grandmaster Flash,
Icehouse,
Mark Hollis,
Fatback Band,
Dawn Penn,
The Slackers,
Kool G Rap & DJ Polo,
The Litter,
Fluxion,
Smog,
X-102,
Angry Samoans,
Gang Starr,
Throbbing Gristle,
Magazine,
The Pop Group,
The Dirtbombs,
Leonard Cohen,
Sexual Harrassment,
Nas,
Minor Threat,
Unrelated Segments,
Soul Sonic Force,
Lou Reed,
Jimmy McGriff,
Grandmaster Flash and the Furious Five,
Matthew Halsall,
Yusef Lateef,
Bang On A Can,
Liliput,
Fad Gadget,
the Soft Cell,
the Germs,
Clear Light,
Radiopuhelimet,
Public Image Ltd.,
Iggy Pop,
Peter & Gordon,
Rod Modell,
Mission of Burma,
The Doobie Brothers,
Todd Rundgren,
Red Lorry Yellow Lorry,
Gil Scott-Heron & Brian Jackson,
Television,
The Music Machine,
The Gun Club,
The Moody Blues,
Black Moon,
Q65,
John Cale,
Marc Romboy vs. Booka Shade,
The Mojo Men,
Q and Not U,
Pylon, Pylon, Pylon, Pylon.
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.