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 Micronesia and from Accra.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Woodstock and New York.
I'm losing my edge to the art-school London 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 1978 at the first Visage practice in a loft in London.
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 Thompson Twins to the dance 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 Model 500. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Television Personalities record on German import.
I heard that you have a white label of every seminal grunge 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 linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Darondo record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Peter Gordon & Love of Life Orchestra,
Glambeats Corp.,
Fear,
The Velvet Underground,
Aloha Tigers,
Bobby Byrd,
Robert Görl,
Tomorrow,
In Retrospect,
AZ,
PIL,
Chrome,
Lyres,
Ajijia Myrayebe,
Sun Ra Arkestra,
Junior Murvin,
The Grass Roots,
a-ha,
the Fania All-Stars,
Thinking Fellers Union Local 282,
Idris Muhammad,
Kango’s Stein Massive,
Throbbing Gristle,
Television,
The Doobie Brothers,
Audionom,
Blake Baxter,
The Flesh Eaters,
Funky Four + One,
Altered Images,
Das Ding,
Harpers Bizarre,
Pantytec,
DJ Sneak,
Robert Hood,
Dark Day,
Jimmy McGriff,
Marcia Griffiths,
Marc Romboy vs. Booka Shade,
Young Marble Giants,
Eve St. Jones,
The Detroit Cobras,
The Motions,
Lalo Schifrin,
Stereo Dub,
X-101,
Kerri Chandler,
Andrew Hill,
Aural Exciters,
DeepChord presents Echospace,
Lindisfarne,
Ronnie Foster,
Strawberry Alarm Clock,
Deepchord,
Wire,
The Selecter,
Deadbeat,
Infiniti,
Reagan Youth,
the Human League,
Can,
Deutsch Amerikanische Freundschaft,
Rapeman, Rapeman, Rapeman, Rapeman.
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.