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 Serbia and from Accra.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Columbus and Accra.
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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 X-Ray Spex to the rap 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 Anthony Braxton. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every James White and The Blacks 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Eli Mardock,
Lyres,
Wings,
Animal Collective,
Andrew Ashong & Theo Parrish,
John Holt,
Captain Beefheart & His Magic Band,
Röyhkä ja Rättö ja Lehtisalo,
Black Pus,
Hashim,
The Red Krayola,
Kauko Röyhkä ja Narttu,
Heaven 17,
Avey Tare's Slasher Flicks,
Man Eating Sloth,
The Associates,
Nils Olav,
PIL,
The Monks,
Pussy Galore,
Vaughan Mason & Crew,
Bang on a Can All-Stars,
Dorothy Ashby,
The Chocolate Watch Band,
Bobby Womack,
Funky Four + One,
Echo & the Bunnymen,
Visionaries,LMNO, T- Love & Iriscience,
Gil Scott-Heron & Brian Jackson,
Liaisons Dangereuses,
Zero Boys,
Unrelated Segments,
Marc Romboy vs. Booka Shade,
The Five Americans,
Ituana,
The Blackbyrds,
Notorious Big And Bone Thugs,
Cybotron,
Todd Rundgren,
Aaron Thompson,
Moss Icon,
Grauzone,
Dead Boys,
Barclay James Harvest,
Bootsy's Rubber Band,
Average White Band,
the Soft Cell,
T. Rex,
June Days,
The Misunderstood,
Q and Not U,
48th St. Collective,
Be Bop Deluxe,
E-Dancer,
Eddi Front,
Stockholm Monsters,
The United States of America,
Mary Jane Girls,
Boogie Down Productions,
Eric Dolphy,
8 Eyed Spy,
The Human League,
Newcleus, Newcleus, Newcleus, Newcleus.
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.