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 Equatorial Guinea and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
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 rhodes 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 Japan to the punk kids.
I played it at Trash.
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 Pylon. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your guitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Marshall Jefferson,
Kerri Chandler,
Cal Tjader,
Ultimate Spinach,
The Mighty Diamonds,
Harmonia,
Soulsonic Force,
Jacob Miller,
Man Parrish,
Mary Jane Girls,
Nation of Ulysses,
Lindisfarne,
Archie Shepp,
Brass Construction,
The Vogues,
In Retrospect,
Metal Thangz,
Tim Buckley,
Gil Scott-Heron & Brian Jackson,
Boogie Down Productions,
The Knickerbockers,
Jeff Mills,
The Fortunes,
Avey Tare,
Orchestral Manoeuvres in the Dark,
Al Stewart,
Althea and Donna,
Gil Scott-Heron and Jamie xx,
Scientists,
Harpers Bizarre,
Ronan,
Ohio Players,
Blancmange,
Groovy Waters,
Eve St. Jones,
Fugazi,
The Pop Group,
The Moody Blues,
The Associates,
Moebius,
Con Funk Shun,
The Residents,
Soul II Soul,
Eurythmics,
Dual Sessions,
The Detroit Cobras,
Hot Snakes,
The Fire Engines,
The Sonics,
Gastr Del Sol,
The Busters,
Peter Gordon & Love of Life Orchestra,
The Dave Clark Five,
Camron Feat. Memphis Bleek And Beenie Seigel,
Avey Tare's Slasher Flicks,
Notorious BIG live in Amsterdam,
Minor Threat,
the Normal, the Normal, the Normal, the Normal.
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.