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 Taiwan and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school New York 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 organ sounds with much patience.
I was there when Robert Palmer 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 The Trojans to the grime 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 The Five Americans. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Super Lover Cee & Casanova Rud,
Sad Lovers and Giants,
The Knickerbockers,
It's A Beautiful Day,
The Tremeloes,
Blancmange,
Bad Manners,
Massinfluence,
Sugar Minott,
Lou Christie,
Harmonia,
Tres Demented,
JFA,
Jimmy McGriff,
Amon Düül II,
The Searchers,
Lizzy Mercier Descloux,
Icehouse,
Pantaleimon,
Girls At Our Best!,
Ice-T,
The Fuzztones,
The Remains,
The Move,
Jandek,
Jacob Miller,
Q and Not U,
Nas,
Joe Finger,
Fort Wilson Riot,
The Young Rascals,
The Golliwogs,
Roxette,
Sonny Sharrock,
Iggy Pop,
The Star Department,
Jesper Dahlbäck,
Heavy D & The Boyz,
Ralphi Rosario,
Essential Logic,
Dead Boys,
Franke,
Marshall Jefferson,
Dave Gahan,
Gichy Dan,
The Mojo Men,
June of 44,
Max Romeo,
Public Image Ltd.,
Absolute Body Control,
Monolake,
Orchestral Manoeuvres in the Dark,
PIL,
Kaleidoscope,
Ohio Players,
DeepChord presents Echospace,
Juan Atkins,
The Stooges,
Arcadia,
Ponytail,
The Sound,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.