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 Iceland and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
I'm losing my edge to the art-school Salvador 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 spring reverb 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 Ultravox to the crunk kids.
I played it at CBGB's.
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 Model 500. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every The Raincoats 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Skaos,
Von Mondo,
Bobbi Humphrey,
Grandmaster Flash,
48th St. Collective,
Lou Reed,
Sun City Girls,
Deadbeat,
The Grass Roots,
ABC,
Sonny Sharrock,
Red Lorry Yellow Lorry,
Joyce Sims,
Surgeon,
DJ Style,
K-Klass,
Graham Central Station,
Quantec,
Blake Baxter,
Anakelly,
Faust,
Dead Boys,
London Community Gospel Choir,
This Heat,
The Human League,
James White and The Blacks,
Ossler,
Banda Bassotti,
Super Lover Cee & Casanova Rud,
Selector Dub Narcotic,
Young Marble Giants,
Marshall Jefferson,
Man Parrish,
Stereo Dub,
Electric Light Orchestra,
The Tremeloes,
Deutsch Amerikanische Freundschaft,
Al Stewart,
Sam Rivers,
The Mighty Diamonds,
Tears for Fears,
Art Ensemble Of Chicago,
Minnie Riperton,
Dark Day,
Pet Shop Boys,
Chrome,
Panda Bear,
The Last Poets,
Eden Ahbez,
Harmonia,
The Slackers,
Mars,
Shuggie Otis,
Pete Rock & C.L. Smooth,
Tim Buckley,
Bobby Sherman,
a-ha,
Yellowson,
Negative Approach,
Steve Hackett,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.