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 Comoros and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Toronto and Columbus.
I'm losing my edge to the art-school Philadelphia 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 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 Avey Tare & Kría Brekkan. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every T.S.O.L. 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 '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Duran Duran,
Peter Gordon & Love of Life Orchestra,
The Neon Judgement,
Grauzone,
Orchestral Manoeuvres in the Dark,
The Motions,
Massinfluence,
Yellowson,
Soft Cell,
Banda Bassotti,
The Busters,
Lungfish,
Q and Not U,
Thee Headcoats,
Scion,
Don Cherry,
The Fire Engines,
Robert Hood,
The Sisters of Mercy,
Siglo XX,
H. Thieme,
The Fuzztones,
The Raincoats,
The Gladiators,
Cluster,
Lebanon Hanover,
Throbbing Gristle,
The Gap Band,
X-102,
Matthew Halsall,
DJ Style,
Glambeats Corp.,
Gary Puckett & The Union Gap,
The Jesus and Mary Chain,
Au Pairs,
Lou Christie,
One Last Wish,
Funkadelic,
Alton Ellis,
Mandrill,
The Gun Club,
The Count Five,
Average White Band,
Piero Umiliani,
The Fall,
Barbara Tucker,
Supertramp,
The Remains,
Pylon,
Radiopuhelimet,
Cal Tjader,
Deutsch Amerikanische Freundschaft,
The Mummies,
Porter Ricks,
Pharaoh Sanders and the Fire Engines,
The Alarm Clocks,
The Men They Couldn't Hang,
the Bar-Kays,
Byron Stingily,
Blossom Toes,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.