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 Uruguay and from Toronto.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Columbus and Glasgow.
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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Ice-T to the funk kids.
I played it at the Spitz.
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 Laurel Aitken. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal rap 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 a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ultimate Spinach record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
MC5,
The Doobie Brothers,
Graham Central Station,
Oppenheimer Analysis,
Youth Brigade,
Sixth Finger,
Ossler,
Public Image Ltd.,
Maleditus Sound,
Dead Boys,
John Coltrane,
Lou Reed & Metallica,
Soulsonic Force,
Juan Atkins,
Morten Harket,
Fort Wilson Riot,
Vainqueur,
Masters at Work,
Ten City,
Bill Wells,
Andrew Ashong & Theo Parrish,
Bill Near,
The Fortunes,
The Standells,
The Mojo Men,
Jacob Miller,
New York Dolls,
Deepchord,
The Misunderstood,
Magma,
Manfred Mann's Earth Band,
Judy Mowatt,
ABC,
Yazoo,
JFA,
Amon Düül,
Sällskapet,
Stetsasonic,
The Associates,
The Stooges,
R.M.O.,
Dorothy Ashby,
Big Daddy Kane,
PIL,
The Martian,
The Last Poets,
Roxette,
the Human League,
Rhythim Is Rhythim,
Eli Mardock,
Ronan,
Captain Beefheart & His Magic Band,
Black Sheep,
The West Coast Pop Art Experimental Band,
D'Angelo,
Michelle Simonal,
Arab on Radar,
Minny Pops,
Excepter,
The Motions, The Motions, The Motions, The Motions.
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.