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 Ireland and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1974.
I'm losing my edge.
To all the kids in Columbus and Lagos.
I'm losing my edge to the art-school Portland 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Cabaret Voltaire to the disco kids.
I played it at Cafe Wha.
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 The Human League. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal techno 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
Girls At Our Best!,
Janne Schatter,
8 Eyed Spy,
Eyeless In Gaza,
Crispian St. Peters,
Organ,
Henry Cow,
Andrew Hill,
Rapeman,
Gian Franco Pienzio,
Masters at Work,
KRS-One,
The Neon Judgement,
Slave,
Tom Boy,
Warsaw,
Flipper,
Technova,
Moby Grape,
Deepchord,
Saccharine Trust,
Ronnie Foster,
Black Flag,
Fort Wilson Riot,
Boz Scaggs,
The Zeros,
New York Dolls,
The Gap Band,
Gang of Four,
Jesper Dahlback,
Junior Murvin,
Lindisfarne,
Funkadelic,
Slick Rick,
Nas,
Hoover,
Model 500,
Deutsch Amerikanische Freundschaft,
Gregory Isaacs,
Bobby Hutcherson,
Con Funk Shun,
Television,
Soul II Soul,
Gil Scott-Heron and Jamie xx,
B.T. Express,
Ronan,
Y Pants,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lafayette Afro Rock Band,
Thee Headcoats,
Main Source,
Mary Jane Girls,
Angels of Light & Akron/Family,
Anthony Braxton,
The United States of America,
Jeff Lynne,
Bauhaus,
Art Ensemble Of Chicago,
Ohio Players,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.