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 Paraguay and from London.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1976.
I'm losing my edge.
To all the kids in Paris and Shanghai.
I'm losing my edge to the art-school Houston 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 linndrum 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 Byron Stingily to the punk kids.
I played it at the Troubador.
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 Art Ensemble Of Chicago. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Pharoah Sanders 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Trumans Water,
Bill Near,
R.M.O.,
Public Image Ltd.,
Darondo,
Pantaleimon,
Robert Hood,
Alison Limerick,
Jesper Dahlbäck,
Little Man,
T. Rex,
Bobbi Humphrey,
Notorious BIG live in Amsterdam,
Lyres,
Soul II Soul,
Index,
Panda Bear,
The Gladiators,
The Five Americans,
Nas,
Colin Newman,
Jandek,
These Immortal Souls,
Bobby Womack,
Eric Dolphy,
Frankie Knuckles,
The Detroit Cobras,
Marvin Gaye,
The Fugs,
The Happenings,
Jerry Gold Smith,
Talk Talk,
Sticky Fingaz feat. Raekwon,
Reagan Youth,
Organ,
Fat Boys,
Strawberry Alarm Clock,
8 Eyed Spy,
Dennis Brown,
UT,
K-Klass,
Gabor Szabo,
Ludus,
Duran Duran,
Kurtis Blow,
the Germs,
Gil Scott-Heron and Jamie xx,
Anakelly,
Kayak,
Desert Stars,
Schoolly D,
Judy Mowatt,
Lizzy Mercier Descloux,
Technova,
Visage,
The Searchers,
The J.B.'s,
Susan Cadogan,
Nick Cave & The Bad Seeds,
Soulsonic Force,
Grey Daturas,
The Neon Judgement,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.