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 Tonga and from Woodstock.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Edmonton and Glasgow.
I'm losing my edge to the art-school New York 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 Hot Snakes to the punk kids.
I played it at Cafe Wha.
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 The Slits. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Zero Boys record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Eli Mardock,
Curtis Mayfield,
Susan Cadogan,
June of 44,
Sun City Girls,
Scion,
In Retrospect,
The Martian,
Lafayette Afro Rock Band,
Bill Wells,
Crispian St. Peters,
Ronnie Foster,
Nas,
Slick Rick,
The Gladiators,
Mary Jane Girls,
Japan,
Khruangbin,
The Move,
Fela Kuti,
Manfred Mann's Earth Band,
Eddi Front,
Radio Birdman,
Letta Mbulu,
Kool Moe Dee,
Nation of Ulysses,
Mission of Burma,
Quantec,
Flipper,
Maleditus Sound,
Dead Boys,
LL Cool J,
Rekid,
Be Bop Deluxe,
Kauko Röyhkä ja Narttu,
Jacob Miller,
Public Image Ltd.,
Jerry's Kids,
EPMD,
Johnny Osbourne,
The Cowsills,
Fatback Band,
Robert Wyatt,
Ken Boothe,
Lonnie Liston Smith,
Isaac Hayes,
Monks,
Joensuu 1685,
Scan 7,
The Walker Brothers,
Byron Stingily,
Marc Romboy vs. Booka Shade,
Boogie Down Productions,
Wolf Eyes,
Spandau Ballet,
Bang on a Can All-Stars,
Black Pus,
Deutsch Amerikanische Freundschaft,
John Cale,
Loose Ends,
Talk Talk,
Heaven 17,
Soft Cell,
Kayak, Kayak, Kayak, Kayak.
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.