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 Japan and from Stockholm.
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 1979.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
I'm losing my edge to the art-school Beijing 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the organ sounds with much patience.
I was there when Lou Reed 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 Gil Scott-Heron & Brian Jackson to the rap kids.
I played it at the 40 Watt.
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 Ohio Players. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Average White Band record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
This Heat,
Fluxion,
Motorama,
Heavy D & The Boyz,
Sexual Harrassment,
Gichy Dan,
The Dead C,
Lightning Bolt,
Yusef Lateef,
Marcia Griffiths,
Gang Green,
Radiopuhelimet,
Kings Of Tomorrow,
Siglo XX,
Panda Bear,
John Cale,
Thompson Twins,
Delon & Dalcan,
The Gladiators,
Captain Beefheart & His Magic Band,
Tears for Fears,
The J.B.'s,
Masters at Work,
Wire,
Echospace,
The Moleskins,
Supertramp,
Bad Manners,
Sonic Youth,
Fort Wilson Riot,
EPMD,
Scientists,
the Association,
Absolute Body Control,
Ultravox,
The Trojans,
The Black Dice,
Patti Smith,
Depeche Mode,
London Community Gospel Choir,
The Move,
Gang Starr,
Richard Hell and the Voidoids,
The Divine Comedy,
Ultimate Spinach,
The Smiths,
Negative Approach,
Bobby Hutcherson,
Chrome,
Skaos,
Minor Threat,
Procol Harum,
Derrick Morgan,
F. McDonald,
Roy Ayers Ubiquity,
Vladislav Delay,
Blancmange,
Alphaville,
John Holt,
The Leaves,
Neil Young,
Idris Muhammad,
Harmonia,
The Motions, The Motions, The Motions, The Motions.
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.