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 Kiribati and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 Accra and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Alice Coltrane to the electroclash 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 Echo & the Bunnymen. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
Essential Logic,
The Kinks,
Ralphi Rosario,
Robert Hood,
The Trojans,
The Sound,
Judy Mowatt,
Ituana,
The Black Dice,
the Germs,
Gil Scott Heron,
Marc Romboy vs. Booka Shade,
Faraquet,
Rites of Spring,
Rhythim Is Rhythim,
Mary Jane Girls,
Hasil Adkins,
the Bar-Kays,
The Divine Comedy,
Crispian St. Peters,
Man Eating Sloth,
Marine Girls,
Sad Lovers and Giants,
Spandau Ballet,
Sight & Sound,
The Stooges,
Quando Quango,
Niagra,
Fat Boys,
Boredoms,
Sarah Menescal,
Black Pus,
The Men They Couldn't Hang,
Sandy B,
Sun Ra Arkestra,
Sex Pistols,
Soul II Soul,
The Flesh Eaters,
Echospace,
Aaron Thompson,
Scrapy,
Susan Cadogan,
Joy Division,
Morten Harket,
Todd Terry,
Gang Gang Dance,
Flipper,
The Cosmic Jokers,
Procol Harum,
Deepchord,
Basic Channel,
Fear,
Richard Hell and the Voidoids,
Althea and Donna,
Chrome,
Freddie Wadling,
Boz Scaggs,
The Standells,
Gian Franco Pienzio,
The Dirtbombs,
Alison Limerick,
Bad Manners,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.