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 Iraq and from New York.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Tehran.
I'm losing my edge to the art-school Copenhagen 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 spring reverb 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 Terrestrial Tones to the grime kids.
I played it at CBGB's.
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 Lyres. All the underground hits.
All China Crisis tracks. I heard you have a vinyl of every Zapp 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 '80s cut and another box set from the '80s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Qualms,
Bill Near,
Tomorrow,
Donald Byrd,
Suicide,
The Cramps,
Gichy Dan,
Gabor Szabo,
The Offenders,
Vaughan Mason & Crew,
Lonnie Liston Smith,
Faust,
Robert Görl,
The Gladiators,
The Cure,
Idris Muhammad,
AZ,
Infiniti,
Quantec,
A Certain Ratio,
Drive Like Jehu,
Desert Stars,
Gil Scott-Heron and Jamie xx,
Sexual Harrassment,
Joensuu 1685,
Reagan Youth,
Rakim,
Kings Of Tomorrow,
The Gories,
Ponytail,
Throbbing Gristle,
Brass Construction,
Ludus,
Ajijia Myrayebe,
Chrome,
Nico,
Alton Ellis,
Accadde A,
Delon & Dalcan,
Lyres,
Stetsasonic,
Sound Behaviour,
The Vogues,
Roy Ayers,
U.S. Maple,
Clear Light,
Althea and Donna,
Grey Daturas,
Pharaoh Sanders and the Fire Engines,
Pole,
Chris Corsano,
Larry & the Blue Notes,
Surgeon,
Junior Murvin,
Donny Hathaway,
Graham Central Station,
Deakin,
Black Pus,
The Shadows of Knight,
Deutsch Amerikanische Freundschaft,
Terry Callier,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.