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 Korea South and from Accra.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Manchester and Spokane.
I'm losing my edge to the art-school Lille 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 rhodes 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 Walker Brothers to the jazz kids.
I played it at Trash.
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 Marc Romboy vs. Booka Shade. All the underground hits.
All Television tracks. I heard you have a vinyl of every Thompson Twins 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Frankie Knuckles,
The Toasters,
Sister Nancy,
Lalann,
The Chocolate Watch Band,
Scratch Acid,
Deadbeat,
The Birthday Party,
KRS-One,
Bootsy Collins,
Massinfluence,
The Walker Brothers,
Index,
Grauzone,
Henry Cow,
Anthony Braxton,
John Holt,
Dual Sessions,
Peter & Gordon,
Slick Rick,
The Red Krayola,
The Star Department,
ABBA,
Throbbing Gristle,
Malaria!,
The Monks,
Glenn Branca,
Ralphi Rosario,
Gil Scott-Heron and Jamie xx,
The Doobie Brothers,
Funky Four + One,
Roxy Music,
Technova,
Youth Brigade,
The Offenders,
Rowland S Howard / Lydia Lunch,
the Human League,
The Slackers,
U.S. Maple,
Arthur Verocai,
L. Decosne,
Harpers Bizarre,
Stockholm Monsters,
Bobby Sherman,
Agitation Free,
Accadde A,
Alton Ellis,
Bobby Byrd,
Freddie Wadling,
Jeff Lynne,
Bush Tetras,
Moss Icon,
The Moody Blues,
The Standells,
Gastr Del Sol,
Echospace,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.