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 Bahrain and from Madrid.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Sao Paulo 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 clarinet 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 Intrusion to the techno 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 Barbara Tucker. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
The Remains,
Jeff Mills,
Radiohead,
Can,
Rhythm & Sound,
Barbara Tucker,
Ohio Players,
Traffic Nightmare,
Shuggie Otis,
Scan 7,
Shoche,
the Swans,
Andrew Hill,
Fat Boys,
Minny Pops,
Piero Umiliani,
Leonard Cohen,
China Crisis,
Mantronix,
Drexciya,
The Five Americans,
Barry Ungar,
Bobbi Humphrey,
The Birthday Party,
Ten City,
Saccharine Trust,
Suburban Knight,
Harpers Bizarre,
The Sonics,
The Motions,
Bad Manners,
Gabor Szabo,
Talk Talk,
These Immortal Souls,
Fifty Foot Hose,
Gang Starr,
The Busters,
Sugar Minott,
The Litter,
Unrelated Segments,
The Royal Family And The Poor,
Robert Hood,
Yaz,
Freddie Wadling,
K-Klass,
The Real Kids,
John Foxx,
Soul II Soul,
Faraquet,
Kauko Röyhkä ja Narttu,
Amon Düül,
Deepchord,
Lalo Schifrin,
Procol Harum,
Donny Hathaway,
The Sisters of Mercy,
Joe Smooth,
The Stooges,
Danielle Patucci,
Harmonia,
Roger Hodgson, Roger Hodgson, Roger Hodgson, Roger Hodgson.
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.