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 Mozambique and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Lille and Shanghai.
I'm losing my edge to the art-school Accra 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Man Parrish to the crunk kids.
I played it at Trash.
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 Major Organ And The Adding Machine. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every Matthew Bourne 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a H. Thieme record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum 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?
John Lydon,
Justin Hinds & The Dominoes,
Sarah Menescal,
Flash Fearless,
Pere Ubu,
Don Cherry,
The Dave Clark Five,
Television Personalities,
Isaac Hayes,
Japan,
Kango’s Stein Massive,
Brass Construction,
Sister Nancy,
Agitation Free,
the Sonics,
Monolake,
The Cowsills,
A Flock of Seagulls,
The Sound,
Big Daddy Kane,
Thompson Twins,
John Holt,
B.T. Express,
Barbara Tucker,
Judy Mowatt,
Janne Schatter,
R.M.O.,
Boredoms,
Fifty Foot Hose,
The Pop Group,
Deutsch Amerikanische Freundschaft,
Alison Limerick,
Basic Channel,
Fort Wilson Riot,
Tropical Tobacco,
Connie Case,
Saccharine Trust,
Swell Maps,
Michelle Simonal,
Parry Music,
The Martian,
Ultravox,
Supertramp,
Animal Collective,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Skarface,
The Offenders,
Vainqueur,
Masters at Work,
Bobby Sherman,
Adolescents,
This Heat,
Gil Scott Heron,
8 Eyed Spy,
Eddi Front,
Carl Craig,
Kool G Rap & DJ Polo,
Mantronix,
Max Romeo,
Oppenheimer Analysis,
Be Bop Deluxe,
Mo-Dettes,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.