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 Cape Verde and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1964 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Accra.
I'm losing my edge to the art-school Edmonton 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 chamberlin 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 Deakin to the dance kids.
I played it at the Hacienda.
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 Roxette. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Josef K,
Subhumans,
Oblivians,
Public Image Ltd.,
Eddi Front,
Graham Central Station,
The Remains,
Model 500,
CMW,
One Last Wish,
Sight & Sound,
Marc Romboy vs. Booka Shade,
Jerry Gold Smith,
Lalo Schifrin,
World's Most,
Gregory Isaacs,
John Foxx,
Essential Logic,
ABC,
Yusef Lateef,
Agitation Free,
Echo & the Bunnymen,
Ohio Players,
In Retrospect,
Technova,
Black Flag,
Dr. Dre and Snoop Doggy Dog,
Lightning Bolt,
Bluetip,
Can,
Massinfluence,
Sandy B,
David McCallum,
Warsaw,
Scratch Acid,
Camberwell Now,
H. Thieme,
Thompson Twins,
The Smoke,
The Gun Club,
Brothers Johnson,
Avey Tare & Kría Brekkan,
Sonny Sharrock,
Marcia Griffiths,
The Doors,
Eric B and Rakim,
Jeff Mills,
Livin' Joy,
Lebanon Hanover,
Buzzcocks,
Jawbox,
Animal Collective,
Morten Harket,
Al Stewart,
The Fuzztones,
The Vogues,
Minor Threat,
Quantec,
Cheater Slicks,
Rahsaan Roland Kirk,
Jacques Brel,
Aloha Tigers,
Todd Rundgren,
Infiniti,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.