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 the UAE and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school Manila 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Sticky Fingaz feat. Raekwon to the funk kids.
I played it at the Crocodile.
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 Outsiders tracks. I heard you have a vinyl of every The Flesh Eaters record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
ABBA,
Sun City Girls,
Andrew Hill,
Porter Ricks,
Godley & Creme,
Technova,
Gil Scott Heron,
Fifty Foot Hose,
Rowland S Howard / Lydia Lunch,
The Moody Blues,
Amon Düül II,
Strawberry Alarm Clock,
Funky Four + One,
Suburban Knight,
Grandmaster Flash,
The West Coast Pop Art Experimental Band,
Spandau Ballet,
Skaos,
Sunsets and Hearts,
Tim Buckley,
Kurtis Blow,
Ronnie Foster,
Michelle Simonal,
Cecil Taylor,
Shoche,
Cluster,
Tres Demented,
The Mighty Diamonds,
Rekid,
Thee Headcoats,
Aaron Thompson,
Franke,
Art Ensemble Of Chicago,
X-102,
Aural Exciters,
Hoover,
Nico,
Isaac Hayes,
Eric Copeland,
Rhythm & Sound,
Peter Gordon & Love of Life Orchestra,
Patti Smith,
F. McDonald,
The Martian,
Accadde A,
Kenny Larkin,
Alton Ellis,
Roy Ayers Ubiquity,
Parry Music,
The Modern Lovers,
Duran Duran,
Pussy Galore,
B.T. Express,
Manfred Mann's Earth Band,
Jacques Brel,
the Association,
The Flesh Eaters,
Hasil Adkins,
Alison Limerick,
New Age Steppers,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.