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 Albania and from Portland.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Halifax and Accra.
I'm losing my edge to the art-school Halifax 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the arpeggiator 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 Avey Tare's Slasher Flicks to the funk 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 Hot Snakes. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Man Parrish 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Rufus Thomas,
Kurtis Blow,
Glenn Branca,
Massinfluence,
Larry & the Blue Notes,
Alison Limerick,
Moebius,
The Fortunes,
Brass Construction,
Lou Christie,
Eden Ahbez,
Black Moon,
Mary Jane Girls,
The New Christs,
John Holt,
David Axelrod,
PIL,
Rites of Spring,
Stiv Bators,
the Normal,
Underground Resistance,
Sarah Menescal,
Rakim,
Amon Düül II,
Ten City,
Sunsets and Hearts,
Mr. Review,
The Techniques,
Gong,
Rapeman,
Gregory Isaacs,
E-Dancer,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Radiohead,
Black Pus,
Alphaville,
Japan,
Idris Muhammad,
Selector Dub Narcotic,
The Remains,
The Flesh Eaters,
Kevin Saunderson,
De La Soul & Jungle Brothers,
Public Image Ltd.,
Pere Ubu,
Los Fastidios,
Ultimate Spinach,
Minutemen,
Girls At Our Best!,
Sällskapet,
Young Marble Giants,
Bush Tetras,
L. Decosne,
The Music Machine,
Strawberry Alarm Clock,
Jacques Brel,
Lebanon Hanover,
Minnie Riperton,
Hoover,
Cymande,
Aural Exciters,
Zapp, Zapp, Zapp, Zapp.
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.