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 Botswana and from London.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1969 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Houston.
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 Eden Ahbez to the disco kids.
I played it at the Astoria.
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 Bill Wells. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Kas Product 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba 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 Alarm Clocks,
Grandmaster Flash and the Furious Five,
The Remains,
Marine Girls,
R.M.O.,
Glambeats Corp.,
The Motions,
Cameo,
Tears for Fears,
Jeff Lynne,
Art Ensemble Of Chicago,
Hasil Adkins,
Excepter,
Chrome,
Y Pants,
Crispian St. Peters,
Adolescents,
The Toasters,
Popol Vuh,
Jimmy McGriff,
Franke,
Be Bop Deluxe,
Aural Exciters,
Spoonie Gee,
Altered Images,
Bob Dylan,
Slave,
The Walker Brothers,
Shoche,
Talk Talk,
The Smoke,
Wally Richardson,
Marc Almond,
Skaos,
Swell Maps,
Jeff Mills,
Steve Hackett,
the Sonics,
China Crisis,
Howard Jones,
The Doors,
Erykah Badu,
The Beau Brummels,
The Birthday Party,
Ten City,
World's Most,
Cheater Slicks,
The Cramps,
Kas Product,
Thee Headcoats,
Animal Collective,
The Music Machine,
The Grass Roots,
Groovy Waters,
H. Thieme,
Rites of Spring,
Roger Hodgson,
Minnie Riperton,
Mary Jane Girls,
The Moody Blues,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.