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 Burkina and from Halifax.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1978.
I'm losing my edge.
To all the kids in Toronto and Bologna.
I'm losing my edge to the art-school Paris 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare 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 The Cramps to the electroclash kids.
I played it at Cafe Wha.
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 Big Daddy Kane. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Aloha Tigers record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Monks,
Bill Wells,
Curtis Mayfield,
ABC,
Leonard Cohen,
The Royal Family And The Poor,
Aswad,
The Searchers,
The Techniques,
Johnny Clarke,
Oneida,
The Barracudas,
Radio Birdman,
John Cale,
Barclay James Harvest,
Joensuu 1685,
Althea and Donna,
Robert Görl,
Stetsasonic,
The Golliwogs,
The Monochrome Set,
Negative Approach,
Moby Grape,
Lalann,
Ponytail,
The Leaves,
Pantytec,
Manfred Mann's Earth Band,
The Cure,
Rowland S Howard / Lydia Lunch,
Mantronix,
the Fania All-Stars,
Niagra,
The New Christs,
Lower 48,
Be Bop Deluxe,
Alice Coltrane,
David Axelrod,
The Seeds,
Motorama,
The Doobie Brothers,
Surgeon,
Colin Newman,
Mark Hollis,
Black Flag,
Teenage Jesus and the Jerks,
Lindisfarne,
The West Coast Pop Art Experimental Band,
Soul Sonic Force,
the Normal,
Rapeman,
Jacques Brel,
Strawberry Alarm Clock,
Kayak,
Rhythim Is Rhythim,
Fluxion,
The Sound,
Bootsy Collins,
Nick Cave & The Bad Seeds,
It's A Beautiful Day,
ABBA, ABBA, ABBA, ABBA.
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.