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 Russia and from Glasgow.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Seoul.
I'm losing my edge to the art-school Philadelphia 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Gastr Del Sol to the disco kids.
I played it at the Troubador.
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 Modern Lovers. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every The Doobie Brothers 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Reuben Wilson,
Minor Threat,
a-ha,
Symarip,
Harmonia,
The West Coast Pop Art Experimental Band,
Boz Scaggs,
Röyhkä ja Rättö ja Lehtisalo,
Lakeside,
The Motions,
Jeff Lynne,
Goldenarms,
Kool G Rap & DJ Polo,
Ornette Coleman,
Cluster,
ABC,
Deepchord,
Bad Manners,
Sister Nancy,
Amon Düül,
Deakin,
Tres Demented,
Qualms,
Arab on Radar,
Fort Wilson Riot,
Blancmange,
Arcadia,
Quadrant,
The Dave Clark Five,
the Normal,
The Divine Comedy,
The Grass Roots,
Cameo,
Lou Christie,
Index,
FM Einheit,
Flash Fearless,
Essential Logic,
Malaria!,
The Durutti Column,
Johnny Osbourne,
Smog,
Richard Hell and the Voidoids,
Swell Maps,
The Modern Lovers,
Joyce Sims,
Electric Light Orchestra,
Kayak,
Prince Buster,
Avey Tare,
Spandau Ballet,
David Axelrod,
Buzzcocks,
The Moleskins,
Henry Cow,
Aural Exciters,
the Association,
Jerry's Kids,
The Toasters,
Beasts of Bourbon,
Bizarre Inc.,
The Walker Brothers,
Barry Ungar,
The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds.
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.