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 Eritrea and from Beijing.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Bobby Womack to the techno kids.
I played it at Trash.
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 Al Stewart. All the underground hits.
All Magma tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Buzzcocks,
Colin Newman,
The Tremeloes,
The Victims,
Anthony Braxton,
Das Ding,
Fatback Band,
Thompson Twins,
Audionom,
Swell Maps,
The Toasters,
Interpol,
Blossom Toes,
Clear Light,
Leonard Cohen,
Siouxsie and the Banshees,
The Kinks,
Archie Shepp,
The Count Five,
Maurizio,
Man Eating Sloth,
Can,
Fela Kuti,
Ice-T,
Grey Daturas,
Electric Light Orchestra,
Marc Almond,
Aural Exciters,
Pulsallama,
Grandmaster Flash,
MDC,
Little Man,
Byron Stingily,
The Velvet Underground,
Aloha Tigers,
Pole,
Tears for Fears,
Angels of Light & Akron/Family,
Underground Resistance,
Jeff Mills,
Bobby Hutcherson,
Inner City,
Camouflage,
The Index,
kango's stein massive,
The Cure,
Dennis Brown,
Beasts of Bourbon,
the Fania All-Stars,
LL Cool J,
Larry & the Blue Notes,
Faust,
Make Up,
Swans,
The Fuzztones,
The Trojans,
FM Einheit,
Junior Murvin,
Groovy Waters,
Brass Construction,
The Mummies,
Cluster, Cluster, Cluster, Cluster.
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.