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 Kenya and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Bremen and Winnipeg.
I'm losing my edge to the art-school Manila 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 chamberlin 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 Bad Manners to the dance kids.
I played it at the Crocodile.
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 Aswad. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon 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?
The Flesh Eaters,
Urselle,
Gichy Dan,
The Techniques,
New Order,
Terrestrial Tones,
Albert Ayler,
F. McDonald,
Nick Fraelich,
Clear Light,
Khruangbin,
David Axelrod,
Sonic Youth,
Reuben Wilson,
Grandmaster Flash,
Amon Düül,
Sound Behaviour,
Nirvana,
Sexual Harrassment,
The Sound,
Kool Moe Dee,
Yusef Lateef,
Nik Kershaw,
The Slackers,
Black Sheep,
Rakim,
Tim Buckley,
Erasure,
New Age Steppers,
ABBA,
Smog,
The Last Poets,
The Stooges,
Inner City,
Aaron Thompson,
Funkadelic,
Anakelly,
the Swans,
Con Funk Shun,
Jeff Mills,
Arcadia,
Oblivians,
Crispy Ambulance,
The Names,
Severed Heads,
Gong,
Bobby Byrd,
Ajijia Myrayebe,
Make Up,
Al Stewart,
Todd Rundgren,
Echospace,
Absolute Body Control,
Wolf Eyes,
Model 500,
Amazonics,
the Bar-Kays,
Grey Daturas,
Idris Muhammad,
the Slits,
Schoolly D,
Guru Guru,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.