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 Dominica and from Shanghai.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Bologna and Lyon.
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 Mistral practice in a loft in Amsterdam.
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 Shuggie Otis to the funk 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 Subhumans. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Youth Brigade,
Flipper,
John Holt,
Shuggie Otis,
Saccharine Trust,
Tom Boy,
Oppenheimer Analysis,
Public Image Ltd.,
The Leaves,
cv313,
Slick Rick,
Crime,
E-Dancer,
Maleditus Sound,
Ludus,
Godley & Creme,
The Zeros,
Bauhaus,
Junior Murvin,
Terrestrial Tones,
Sticky Fingaz feat. Raekwon,
Jeff Mills,
Vainqueur,
John Foxx,
Sparks,
Albert Ayler,
Silicon Teens,
Delta 5,
Khruangbin,
Bang On A Can,
8 Eyed Spy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Danielle Patucci,
Jerry Gold Smith,
Sad Lovers and Giants,
the Sonics,
Dorothy Ashby,
Angels of Light & Akron/Family,
Teenage Jesus and the Jerks,
The Martian,
Mo-Dettes,
Piero Umiliani,
Technova,
Adolescents,
Brass Construction,
Justin Hinds & The Dominoes,
Fort Wilson Riot,
Ronnie Foster,
The Misunderstood,
Major Organ And The Adding Machine,
The Saints,
Country Teasers,
Lou Reed & John Cale,
Althea and Donna,
Arthur Verocai,
Electric Prunes,
Alton Ellis,
Dave Gahan,
Von Mondo,
Cymande,
The Electric Prunes,
Pagans,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.