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 St Kitts & Nevis and from Shanghai.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Columbus and Woodstock.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Dorothy Ashby to the punk 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 Dorothy Ashby. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Golliwogs record.
I hear that you and your band have sold your mellotron and bought an organ.
I hear that you and your band have sold your organ and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
U.S. Maple,
Derrick May,
The Mojo Men,
Unrelated Segments,
Smog,
The Detroit Cobras,
Albert Ayler,
Masters at Work,
Simply Red,
Chris Corsano,
Motorama,
Dead Boys,
Public Enemy,
It's A Beautiful Day,
Cabaret Voltaire,
Groovy Waters,
The Gap Band,
Essential Logic,
Fear,
The Associates,
Siglo XX,
The Tremeloes,
Minor Threat,
Gerry Rafferty,
Junior Murvin,
Rod Modell,
DJ Style,
Alphaville,
Dennis Brown,
the Soft Cell,
The Cowsills,
Yazoo,
The Beau Brummels,
Rowland S Howard / Lydia Lunch,
Minutemen,
The Shadows of Knight,
Visage,
Freddie Wadling,
the Human League,
The Fire Engines,
Vladislav Delay,
the Slits,
The Seeds,
Niagra,
Mission of Burma,
The Five Americans,
Mo-Dettes,
Scott Walker,
Gregory Isaacs,
Wasted Youth,
Sun Ra Arkestra,
ABBA,
Gary Puckett & The Union Gap,
A Certain Ratio,
Gang Gang Dance,
Tomorrow,
Shuggie Otis,
Major Organ And The Adding Machine,
Bush Tetras,
Fad Gadget,
Nils Olav,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.