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 Russia and from Cairo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1979.
I'm losing my edge.
To all the kids in Lille and Shanghai.
I'm losing my edge to the art-school Madrid 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Oneida to the crunk kids.
I played it at the Roxy.
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 Piero Umiliani. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Mars 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood 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?
Lou Reed,
Robert Wyatt,
Gian Franco Pienzio,
These Immortal Souls,
Khruangbin,
Rowland S Howard / Lydia Lunch,
The J.B.'s,
The Remains,
Arthur Verocai,
Robert Görl,
Ituana,
The Slits,
The Black Dice,
Fort Wilson Riot,
Ultravox,
John Holt,
Scan 7,
The West Coast Pop Art Experimental Band,
Franke,
Pussy Galore,
Japan,
Röyhkä ja Rättö ja Lehtisalo,
Theoretical Girls,
Section 25,
Outsiders,
Black Moon,
Dawn Penn,
Warsaw,
The Shadows of Knight,
The New Christs,
Dorothy Ashby,
Ponytail,
The Cure,
F. McDonald,
Eden Ahbez,
The Dead C,
Crispian St. Peters,
Glenn Branca,
The Searchers,
Maurizio,
The Young Rascals,
Skarface,
The Doors,
Bizarre Inc.,
The Evens,
Letta Mbulu,
Faraquet,
X-101,
Rotary Connection,
Soft Cell,
The Seeds,
Eli Mardock,
Marshall Jefferson,
Bad Manners,
Sonny Sharrock,
Grauzone,
The Fire Engines,
Bobbi Humphrey,
Tres Demented,
Be Bop Deluxe,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.