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 Bhutan and from Tokyo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Columbus and Halifax.
I'm losing my edge to the art-school Bologna 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Gil Scott Heron to the funk 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 Gong. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every The Flesh Eaters 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 snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Eli Mardock,
The Knickerbockers,
Faust,
Amon Düül II,
Minor Threat,
The Dirtbombs,
Fatback Band,
Easy Going,
Glambeats Corp.,
Teenage Jesus and the Jerks,
Magma,
Robert Hood,
Iggy Pop,
Bronski Beat,
Strawberry Alarm Clock,
CMW,
Joy Division,
Groovy Waters,
Dennis Brown,
Flamin' Groovies,
Brass Construction,
Big Daddy Kane,
Sex Pistols,
The Fortunes,
Gil Scott-Heron & Brian Jackson,
Theoretical Girls,
The Velvet Underground,
Pole,
The Shadows of Knight,
Cheater Slicks,
The Names,
The Monochrome Set,
Dark Day,
Don Cherry,
Peter & Gordon,
the Association,
Harry Pussy,
The Zeros,
Marc Almond,
Soft Machine,
Audionom,
Warren Ellis,
Radio Birdman,
The Evens,
The Slackers,
Livin' Joy,
OOIOO,
Skarface,
Scratch Acid,
Main Source,
Darondo,
Bad Manners,
The Angels of Light,
Louis and Bebe Barron,
Sun Ra Arkestra,
Fort Wilson Riot,
Kurtis Blow,
The Young Rascals,
Ralphi Rosario,
Connie Case,
Donald Byrd,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.