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 Marshall Islands and from Calgary.
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 1979.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Columbus 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 synthesizer 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 The Seeds to the punk 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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Minny Pops,
Ponytail,
The Dave Clark Five,
Oppenheimer Analysis,
JFA,
Average White Band,
The Dead C,
Bronski Beat,
Deadbeat,
Lower 48,
Los Fastidios,
Sällskapet,
Reagan Youth,
Patti Smith,
Rhythm & Sound,
Scrapy,
Bobby Womack,
Theoretical Girls,
The Move,
World's Most,
Letta Mbulu,
Arthur Verocai,
Derrick May,
Alton Ellis,
Drive Like Jehu,
Newcleus,
Panda Bear,
Intrusion,
Maleditus Sound,
Howard Jones,
Robert Wyatt,
The Electric Prunes,
The Star Department,
The Associates,
Von Mondo,
Shoche,
Altered Images,
Flipper,
Peter & Gordon,
Masters at Work,
Matthew Bourne,
The West Coast Pop Art Experimental Band,
FM Einheit,
The Fugs,
Camron Feat. Memphis Bleek And Beenie Seigel,
Schoolly D,
Beasts of Bourbon,
Delta 5,
Ash Ra Tempel,
Electric Prunes,
Marshall Jefferson,
Cameo,
Ornette Coleman,
Roger Hodgson,
Wolf Eyes,
K-Klass,
Scratch Acid,
Sun Ra Arkestra,
Junior Murvin,
Lou Reed & Metallica,
Skarface, Skarface, Skarface, Skarface.
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.