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 Lesotho and from Calgary.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1978.
I'm losing my edge.
To all the kids in Accra and Bologna.
I'm losing my edge to the art-school Philadelphia 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 808 sounds with much patience.
I was there when Michael McDonald 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 Supertramp to the jazz kids.
I played it at the Astoria.
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 Sixth Finger. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal crunk 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 oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare 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 Jesus and Mary Chain,
Newcleus,
DJ Style,
Pantaleimon,
Avey Tare,
Shoche,
Das Ding,
a-ha,
The Flesh Eaters,
Metal Thangz,
Fort Wilson Riot,
Pussy Galore,
Deadbeat,
Brothers Johnson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
L. Decosne,
Gang Gang Dance,
Pete Rock & C.L. Smooth,
Kool G Rap & DJ Polo,
Terry Callier,
Lungfish,
Lindisfarne,
Public Image Ltd.,
The Move,
Crime,
Sticky Fingaz feat. Raekwon,
Young Marble Giants,
Dennis Brown,
Jesper Dahlbäck,
Idris Muhammad,
Lightning Bolt,
Animal Collective,
The Saints,
The Martian,
Red Lorry Yellow Lorry,
The Busters,
Public Enemy,
Lou Reed,
World's Most,
Laurel Aitken,
Kenny Larkin,
Big Daddy Kane,
KRS-One,
Man Eating Sloth,
Tubeway Army,
D'Angelo,
Crash Course in Science,
LL Cool J,
Scratch Acid,
Graham Central Station,
Scion,
Mr. Review,
John Coltrane,
Grandmaster Flash and the Furious Five,
Siglo XX,
A Certain Ratio,
The Motions,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.