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 Korea South and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Lyon and Edmonton.
I'm losing my edge to the art-school Cairo 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 marimba 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 Gang Gang Dance to the electroclash kids.
I played it at CBGB's.
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 Vladislav Delay. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Gang Green record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Ice-T,
Boredoms,
Heaven 17,
Arthur Verocai,
Strawberry Alarm Clock,
Marmalade,
Radio Birdman,
Kango’s Stein Massive,
Yazoo,
The Residents,
Barry Ungar,
The Happenings,
Fatback Band,
Ronan,
Deakin,
Japan,
Carl Craig,
Sex Pistols,
The Beau Brummels,
Peter Gordon & Love of Life Orchestra,
Isaac Hayes,
Youth Brigade,
Soul II Soul,
Gabor Szabo,
Swell Maps,
Lalo Schifrin,
Monolake,
Freddie Wadling,
Maleditus Sound,
Peter & Gordon,
The Skatalites,
Janne Schatter,
Robert Görl,
Cluster,
Shuggie Otis,
The Gap Band,
Jeff Lynne,
Glambeats Corp.,
R.M.O.,
Groovy Waters,
Sun Ra Arkestra,
The Slackers,
The Misunderstood,
Gil Scott-Heron & Brian Jackson,
Gang of Four,
Country Teasers,
Nas,
Junior Murvin,
The Kinks,
Ituana,
Malaria!,
Bizarre Inc.,
Cabaret Voltaire,
Sly & The Family Stone,
Sam Rivers,
Roy Ayers,
Rapeman,
Roger Hodgson,
Marvin Gaye,
Soulsonic Force,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.