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 Colombia and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Taipei and Manchester.
I'm losing my edge to the art-school Lagos 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 arpeggiator 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 Major Organ And The Adding Machine to the disco 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 Patti Smith. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Carl Craig,
Albert Ayler,
This Heat,
Art Ensemble Of Chicago,
Bronski Beat,
The Selecter,
DNA,
Mad Mike,
Soulsonic Force,
Kings Of Tomorrow,
Buzzcocks,
Sam Rivers,
Delta 5,
Excepter,
Shoche,
Sister Nancy,
H. Thieme,
Panda Bear,
Brothers Johnson,
Deepchord,
Hasil Adkins,
the Soft Cell,
New Order,
The American Breed,
Girls At Our Best!,
Spandau Ballet,
Moss Icon,
Lou Reed,
The Angels of Light,
Mandrill,
Ludus,
Wire,
Qualms,
Pierre Henry,
Drive Like Jehu,
Johnny Clarke,
Max Romeo,
Danielle Patucci,
Juan Atkins,
Arab on Radar,
Mantronix,
The Standells,
Black Flag,
Jeff Lynne,
Lalo Schifrin,
The Doobie Brothers,
Jerry's Kids,
Circle Jerks,
Chrome,
Bad Manners,
Röyhkä ja Rättö ja Lehtisalo,
Mo-Dettes,
MDC,
Ultra Naté,
Black Sheep,
Wolf Eyes,
Sandy B,
DeepChord presents Echospace,
The Searchers,
Gang Gang Dance,
The Gories,
Fad Gadget,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.