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 Solomon Islands and from Spokane.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Portland.
I'm losing my edge to the art-school Delhi 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 Pylon to the jazz kids.
I played it at the Troubador.
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 Bauhaus. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every David Axelrod 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar 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?
The Monks,
Lightning Bolt,
LL Cool J,
Marvin Gaye,
Jawbox,
the Soft Cell,
Lebanon Hanover,
Toni Rubio,
Boogie Down Productions,
Marine Girls,
Lucky Dragons,
Erasure,
Jesper Dahlbäck,
Ultra Naté,
Reagan Youth,
Chris Corsano,
Bang on a Can All-Stars,
Ossler,
Larry & the Blue Notes,
Jeff Mills,
Alton Ellis,
Reuben Wilson,
Khruangbin,
Chris & Cosey,
Henry Cow,
Gang Starr,
Terrestrial Tones,
Easy Going,
Stockholm Monsters,
The Alarm Clocks,
Motorama,
The Index,
Brand Nubian,
June Days,
Das Ding,
Andrew Hill,
Yusef Lateef,
Monolake,
Spandau Ballet,
The Doors,
Animal Collective,
Roger Hodgson,
Hasil Adkins,
Average White Band,
Public Enemy,
Porter Ricks,
Public Image Ltd.,
Index,
Throbbing Gristle,
Ajijia Myrayebe,
Josef K,
Gabor Szabo,
Richard Hell and the Voidoids,
Tropical Tobacco,
Gil Scott Heron,
Curtis Mayfield,
Marc Almond,
Minutemen,
Black Flag,
The Slackers,
Swell Maps,
Little Man, Little Man, Little Man, Little Man.
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.