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 Finland and from Manila.
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 1977.
I'm losing my edge.
To all the kids in London and Lille.
I'm losing my edge to the art-school Spokane 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 theremin sounds with much patience.
I was there when Holger Czukay 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 Thompson Twins to the jazz 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 Lonnie Liston Smith. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Scratch Acid,
The Smiths,
Joyce Sims,
Kango’s Stein Massive,
Ultramagnetic MC's,
Gil Scott-Heron & Brian Jackson,
the Slits,
Minnie Riperton,
Donny Hathaway,
Kenny Larkin,
Agent Orange,
Television,
Popol Vuh,
Skriet,
Fifty Foot Hose,
New York Dolls,
Graham Central Station,
Sugar Minott,
Masters at Work,
Accadde A,
New Age Steppers,
Tommy Roe,
The Grass Roots,
T.S.O.L.,
Public Image Ltd.,
Louis and Bebe Barron,
The Divine Comedy,
Malaria!,
Glambeats Corp.,
Matthew Halsall,
Pantaleimon,
Eurythmics,
Deepchord,
Kool G Rap & DJ Polo,
The Searchers,
Eric Copeland,
Animal Collective,
The Martian,
Interpol,
The Neon Judgement,
Sexual Harrassment,
D'Angelo,
Brand Nubian,
Nas,
The Victims,
Television Personalities,
Bang On A Can,
Cabaret Voltaire,
Joensuu 1685,
Crooked Eye,
Patti Smith,
The Young Rascals,
Jeff Mills,
Slick Rick,
Whodini,
The Toasters,
Gang of Four,
Kayak,
Lee Hazlewood,
The Knickerbockers,
Funkadelic,
Lizzy Mercier Descloux,
Fad Gadget, Fad Gadget, Fad Gadget, Fad Gadget.
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.